Sunday, November 24, 2013

Paul Kuniholm Pauper Exhibits Wearables With Cardboard Car/Tutu In Support Of Seattle Gigapixel Artzoom

Paul Kuniholm Pauper Wearable Artwork, Modeled By Constance Eskridge and Alba Bayes For Seattle Gigapixel Artzoom.

Paul Kuniholm Pauper's contribution to Seattle Gigapixel ArtZoom will be one of 40+ artist and performance groups captured in this historical image. Mark your calendars for the premiere of the Seattle GigapixelArtZoom panorama at SAM--January 18, 7 - 10pm.
Seattle Gigapixel ArtZoom website will feature a profile page for each participating artist and performance group. 

Jen Graves of the Stranger reviewed Seattle Gigapixel ArtZoom :

One recent sunny Saturday afternoon, two inventors talked their way onto the roof of a downtown condo tower. They chose the tower because, magically, it's mostly free of view-blocking neighbors; you can almostshoot a full-360 photo of the city from up there. They set up a modified camera and went to work, taking thousands of pictures in every direction, which later would be combined to create one incredible image stitching them all together. In this new superimage, you can see who's on the viewing deck at the Space Needle in the center of the city, as well as if there's a climber halfway up Mount Rainier 82 miles away. Made of many billions of pixels, this superpicture is probably the single most detailed image ever captured of Seattle.
It's not for state surveillance. Its purpose is art.
"A small team at Microsoft Research has pioneered the technology behind the creation of very-high-resolution panoramic images that allow you to pan and zoom to very fine detail. Now the team wants to create a celebration of the arts in Seattle," John Boylan wrote in an e-mail to his extensive address book full of artists. Boylan's been organizing public conversations about art in Seattle for more than a decade. He knows the Microsoft inventors of Photosynth—Michael Cohen and Matt Uyttendaele, the two guys on the roof of the condo—and he's helping them with the project they're calling Gigapixel ArtZoom.
"This will be a single, multibillion-pixel, zoomable panoramic image of the city and its surroundings," Boylan wrote. "Imagine yourself somewhere in the image. Cohen and his team want to create a sweeping image of Seattle where, when you drill down, you will see performers and artists on street corners, on rooftops, in parking garages."
Dancers in midair, muralists in mid-mural, writers on boats out in Elliott Bay.
Many artists are signed on already, and more are welcome (e-mail Elise Ballard Each arranges an appointment in a specific location. The camera will be stationed on that rooftop at Broad and Second to replicate the perspective of the original superpicture created that sunny Saturday afternoon, which will provide the backdrop for the final portrait. At appointed moments, through text-message coordination, the artists will begin doing their things and the camera will start shooting.
Later in the studio, one image of each artist will be selected. These images will be cut out and stitched into the original superpicture, superimposed onto the lawns at Gas Works Park or the waters of Lake Union (places that just happened to be empty of people on that original Saturday).
The final media object, the interactive Gigapixel ArtZoom itself, will be made publicly available online when it's finished. Its creators hope it will become a historical document, maybe even kept in the digital collection of the Museum of History and Industry as a portrait of Seattle art in fall 2013, all visualized to be happening at the same moment.
The organizers are working to beat the winter weather and juggling the elaborate management of hundreds of artists performing exactly at their appointed times across the city—and then, hours and hours of postproduction work will go into finishing the Gigapixel ArtZoom, which organizers are dreaming of unveiling publicly on the giant panoramic screen at Pacific Science Center sometime before the end of the year.
Shooting started this week. If you see an artist out there performing for nobody, it doesn't mean nobody's watching. recommended

Monday, October 28, 2013

Sam Birchman: The Other Three Points: New Oil Paintings

"Fitting Demise For A Humiliating Transgression", Sam Birchman, Exhibiting In "The Other Three Points..." At Form/Space Atelier December 13- January 4, 2014.
     In June, 2007, Form/Space Atelier transitioned from a corporate-sponsored art gallery to an all-volunteer operated exhibit space and artist residency atelier.  Sam Birchman, an artist exhibiting June 2007, was asked if he would be interested in being the first artist exhibited under the new operating principles of Form/Space Atelier.  Birchman agreed. 

     Casting memory back to that time, the exhibition Sam Birchman was showing in at 1907 2nd Avenue had been cut short; the corporate sponsor, Intracorp, a global real-estate development megacorporation had just delivered the notice to Paul Kuniholm Pauper that the sponsorship had ended, and the gallery had to moved in ten days.  Generous though Intracorp's sponsorship was, the crisis of where to relocate Form/Space Atelier in the most compressed of deadlines presented Paul Kuniholm Pauper with a test of his networking skills on a scale not weathered before or since.  Paul Kuniholm Pauper had just participated in a fundraiser in Belltown, screening his video which would become his selection to the Tenth Northwest Biennial, projected in a space little-used.  Paul Kuniholm Pauper approached the property manager of the under utilized space and hammered out an eleventh-hour agreement which established the new home of Form/Space Atelier, moving the gallery from 1907 2nd Avenue to the current location at 2407 1st Avenue.  Paul Kunihom Pauper, working several all-nighters for 12 straight days, built out what was once a leopard-skin print carpeted, red- and black box in a stairwell, into a skillfully deconstructed mainstream gallery space in the tenderloin of Belltown.

     Since Sam Birchman's first show in June 2007, his work has been shown at least once a year for the last six years, and has also been curated for Angle Gallery in the Tashiro Kaplan Building, where Paul Kuniholm Pauper was curator 2008-2009.

     The Other Three Points: New Oil Paintings is the latest solo exhibition from Sam Birchman at Form/Space Atelier, large-scale oil paintings dealing with a variety of glimpses into the subconscious and Id aspects of human nature, where human nature meets a disturbing but ironic neuroscience.  Sam Birchman studied painting at Evergreen State College.

Monday, September 16, 2013

Bread Of The Presence At Form/Space Atelier

Janelle Abbott, Photo Martin Ranger

Form/Space Atelier Program For Autumn, 2013

Exhibition Title: Bread Of The Presence

Exhibition Duration: October 11-December 7, 2013

Vernissage: October 11, 6PM

Bread of the Presence marks Janelle Abbott's first exhibition at Form/Space Atelier. A recent graduate of Parsons School Of Design NYC, Miss Abbott considers herself to be a maker of things, mover of limbs, and writer of fictitious news. Her practices include garment design and construction with a focus on the ‘zero waste’ methodology, drawing, painting, dancing, dumpster diving, and the utilization of discarded materials. When not making, Janelle is a guide for Bill Speidel’s Underground Seattle, a studio assistant for a local fiber and stone artist, and a highly aggressive cyclist. The act of creation, however, is one means through which Miss Abbott connects with her creator.

Monday, August 5, 2013

Paul Kuniholm Pauper Exhibits At Nordic Heritage Musuem

Paul Kuniholm Pauper exhibits four wearable artworks in conjunction with the preceding exhibit.

Monday, July 29, 2013

Carol Adelman At Form/Space Atelier August 9-October 5, 2013

Form/Space Atelier Program For August-September 2013
Exhibit Title: Anticipated Exhibit Duration: August 9-October 5, 2013 Vernissage: August 9, 6PM "Anticipated" is Carol Adelman's first solo exhibit at Form/Space Atelier. Mysterious renderings of the figure, once-removed using dolls as artists models, or fast-forwarded to intense scrutiny through self portraiture, Adelman layers impasto and light deftly, breathlessly, honestly. "Structured after landmarks of art history, these paintings were developed from life, imagination and memory using objects, and symbols of gender that are as disturbing as they are irresistable to me. In portrait and allegory, I pursue the embodiment of the subject in paint. The impossibility of constructing an image with materials that are constantly in motion has become a metaphor in my work for the construction of identity from fragments on relentlessly shifting ground. My work takes place on a ragged interface between abstraction and representation. I paint towards a melding of observation, memory, and imagination that mediates between visual culture and lived experience of the flesh. The gathering of the image in the slipping liquid of paint humbles me just as it holds me transfixed. It falls apart even as it accumulates–a persistently building and crumbling illusion Although insidiously elusive and ultimately unknowable, the embodiment of the subject remains urgently seductive and potently irresistible. I cannot help but pursue it."- Carol Mallet Adelman ARTIST C. V. Solo Exhibitions 2013 (Anticipated) Formspace Atelier, Seattle, WA 2012 ArtEAST Art Center, Issaquah, WA 2010 Steel Gallery , Gage Academy of Art, Seattle, WA 2005 Kresge Art Center, Gallery 114, Michigan State University, East Lansing, MI 2004 Washington Works on Paper, Washington, DC 2004 Weiss Center, Dickinson College, Carlisle, PA 2002 Kinsey Gallery, Seattle University, Seattle, WA 2001 Courtyard Gallery, Washington Studio School, Washington, DC 2000 Trapeze Gallery, Seattle, WA 1993 Wohlfarth Gallery, Provincetown, MD 1993 Osuna Gallery, Wash. DC Group Exhibitions 2013 little x little: Miniature Print Exhibition, Seattle Print Arts, Columbia City Gallery, Seattle, WA 2013 Faces, Prographica, Seattle, WA 2012 Exceptional: 8 PNW Curators + 8 PNW Artists, Davidson Galleries, Seattle, WA 2012 Currents, Seattle Print Arts, Jacob Lawrence Gallery, University of Washington, Seattle, WA 2012 Tangible Competitive Intangibles, Jacob Lawrence Gallery, University of Washington, Seattle, WA Curators, Clair Cowie and Robert Yoder 2009 Feminist Art Såhow, The Art Gallery, Tacoma Community College, Tacoma, WA 2009 Trapeze, Georgetown Art Center, Seattle, WA 2008 Northwest Fine Art Competition, Phinney Center Art Gallery, Seattle, WA Jurors, Marita Dingus and Heather Dwyer 2007 Face Value, The Art Gallery, Broward College, Pembroke, Fl. Juror, Brian Bishop 2007 Who am I? Portrait Invitational, 4710 Artist Cooperative, Seattle, WA 2007 One Four Two Six, Washington State Trade & Convention Center. Seattle, WA Juror, Mary Ann Peters 2007 Color & Form, Pacific Lutheran University Gallery, Tacoma, WA Curator, Bea Geller 2006 Particular Places, Creative Arts Workshop, New Haven, CT. Juror, Bernard Chaet 2006 Invitational Salon Exhibition of Small Works, New Arts Program, Kutztown, PA 2006 Faculty Exhibition, Schmucker Art Gallery, Gettysburg College, Gettysburg, PA 2005 The Human Form, Touchstone Gallery, Washington, DC Juror, Anne Goodyear, Assistant Curator, National Portrait Gallery 2005 Twelve Women, Delta College Galleria, University Center, MI, Curator, Gina Dominique 2004 Faculty Works in Progress, Goodyear Gallery, Dickinson College, Carlisle, PA 2003 The Body Show, AIP Gallery, Pittsburgh, PA, Curator, Maura Doern 2002 Faculty Exhibition, Student Union Gallery, LSU, Baton Rouge, LA 2002 Hot, Hot, Hot, Foster Gallery, Louisiana State University, Baton Rouge, LA 2000 Invitational Inaugural Exhibition, Poydras Art Center, New Roads, LA 2000 Faculty Exhibition, Foster Gallery, Lousiana State University, Baton Rouge, LA 2000 Northwest Annual, Center on Contemporary Art, Seattle, WA Juror, Mike Bidlo 1999 Pratt Instructors Exhibition, Pratt Gallery at COCA, Seattle, WA 1999 Circus of Desire: Trapeze Studio, Chiaroscuro Gallery, Seattle, WA 1999 Without a Net: Trapeze Studio, Artist’s Space, Seattle, WA 1998 Naked III, Trapeze Gallery, Seattle, WA 1998 Pratt Instructors Exhibition, Pratt Gallery at COCA, Seattle, WA 1998 Eleventh Annual Juried Show, Everett Council on the Arts, Everett, WA 1998 Unlucky in Love, Pratt Gallery, Pratt Fine Art Center, Seattle, WA 1997 Bowery Gallery Juried Show, Bowery Gallery, New York, NY, Juror, William Bailey 1997 University of Washington Master of Fine Arts ’97, Henry Art Gallery, Seattle, 1997 Naked II, Brave Dog Dead Dog Gallery, Seattle, WA 1996 Painting Exhibition, CMA Gallery, University of Washington, Seattle, WA, 1996 Works in Progress, Jacob Lawrence Gallery 1996 University of Washington, Seattle, WA 1995 Strictly painting, Emerson Gallery, McLean Project for the Arts, McLean, VA Juror, Ashley Kistler, Assistant Curator, Virginia Museum of Fine Art 1995 Sketch Book Exhibition, University of Maryland, College Park, MD, Curator, Maura Doern Carol Mallett Adelman Bibliography 2010 Regina Hackett, “Outside the mainstream - women who move mountains”, Art Journal, Another Bouncing Ball, women.html, February, 14, 2010 2008 Barbara Ryan, Face Value, Fine Art Gallery at Broward County Community College, catalogue 2007 Alec Clayton, "Beatrice Geller & friends hang at Pacific Lutheran University", The Weekly Volcano April 26, 2007 2003 Maura Doern, The Body Show, (Catalog), AIP Gallery, Pgh. PA 2000 Review: Victoria Ellison, "Reality Bites: Two Shows Turn Art History of its Ear", Seattle Weekly, January 27,2000,Pg. 31 2000 Debbie Lester, "Eye, I", b/w reproduction, Art Access, February 2000 2000 Biography, Who’s Who in the West, Millennium Edition, Marquis Who’s Who, 2000 1998 Ann Seeley, Pratt Instructors Exhibition, Art Access, 1998, November 1997 Debbie Lester "What Timing", b/w reproduction, Art Access, May 1997 1993 Review: Sarah Grusin, "Galleries, Rest of the Best", Washington Flyer, M/J 1993 Eve Zibart, "On the Town, Apperatif", Washington Post, May 14, 1993 1987 Review: Pamela Kessler, "Museums & Galleries" Washington Post, Dec. 17, 1987 Professional Experience 2011 (also 2009, 2008) Visiting Lecturer, University of Washington School of Art, Seattle 2010 Artist Mentor, Art Institute of Boston at Leslie University, Cambridge, MA. 2007-2009 Kittredge Gallery Manager/Curator, University of Puget Sound, Tacoma, WA 2008 Adjunct Assistant Professor, Seattle University Honors Program, Seattle, WA. 2006 Adjunct Assistant Professor, Gettysburg College, Gettysburg, PA 2005 Visiting Assistant Professor, Kutztown University, Kutztown, PA. 2003-2004 Visiting Assistant Professor, Dickinson College, Carlisle, PA 2004 Director, Summer Studio Program in Toulouse, Dickinson College, Toulouse, France 2001-2002 Instructor of Art, Louisiana State University, Baton Rouge, LA 2000-2001 Instructor of Art, Delta College, University Center, MI Lectures & Workshops Given 2012 Artist Lecturer, ArtEAST Art Center, Issaquah, WA 2010 Observing Our Seeing; Seeing Our Sight, Gage Academy of Art, Seattle, WA 2006 Visiting Artist, Harrisburg Area Community College, Harrisburg, PA 2004 Visiting Artist, Dickinson College, Carlisle, PA 2003 Art Educators Workshop, Trout Gallery, Dickinson College, Carlisle, PA 2001 Critic, Large Format Figure Drawing Workshop, Central Michigan University, Mt. Pleasant, MI 2000 Visiting Artist Lecture, Central Michigan University, Mt. Pleasant, MI Education 1997 MFA University of Washington, Seattle, WA 1982 BFA Carnegie Mellon University, Pittsburgh, PA 2004 Xerox Transfer Workshop with Miriam Schaer, Lower East Side Printshop, NY, NY 2000 Stone Lithography Intensive, Phyllis McGibbon, Pratt Fine Art Center, Seattle, WA 1998 Residency, Vermont Studio Center, Johnson, VT Grants Awards 2004 (also 2003) Creative Project Research & Development Grant, Dickinson College, Carlisle, PA 1998 Artist Grant, Vermont Studio Center, Johnson, VT 1997 W.W. Stout Fellowship, University of Washington Graduate School, Seattle, WA Special Projects Grant, University of Washington School of Art, Seattle, WA Collections Jim and Carol Young, Seattle, WA

Monday, July 1, 2013

POP UP: Prism

Austrian artist Christian Bazant-Hegemark (, whose work will be presented in his first solo show in the USA, at Seattle's Form/Space Gallery on July 12th, 2013. The artist has previously shown his work in solo shows in Europe and beyond, including Leipzig, Paris, Rio de Jane...iro, Vienna, Düsseldorf and others.

The upcoming exhibition will showcase the work that was produced during his residence in Seattle. It will be accompanied by a limited-edition catalogue of the artist’s work.

About the show:

"All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood."

- The Universal Declaration of Human Rights

The collection of paintings completed during the Wolfram residency in Seattle, WA, offers a dystopian take on current affairs, unfolding a variety of unforeseen events - uncanny scenarios connected by their sparse use of figuration. The works present sombre fragments: The loosely dangling empty flag missing its stars, a crash-landing site, a tornado, a scenery of Disneyland-inspired flora where a dirty dove spins away from mail boxes turned pandorian. A post-industrialized, haggard, old man harvesting a plant of boolean descent on an infinite plane of three-colored, rothkoesque flatness, watched by the cipher of a fully-lipped, potentially homoerotic dark angel pondering the proceedings in apathy. A white-winged chimpanzee, floating in an undefined black void, connecting with a prism's light..

On their route from the everyday to the surreal, the paintings continuously open their formal vocabulary and range of action to reflect various American painting topics and tendencies while also becoming a statement about today's use of figuration per se. These works employ paraphrasing of painters like Rothko or Guston, usage of US specific, internationally understood symbolisms like Old Glory, KKK paraphernalia, the Mickey Mouse silhouette and others. The symbolized depiction of highly relevant themes include the recent publications regarding the NSA's Prism program - whose logo's rainbow color gradient, more commonly used as the symbol for LGBT pride, serves as the connecting theme throughout all pieces.

The work’s colors incorporate a sense of dread that might be typical of an outsider view of the U.S., and its epitomal status primus inter pares of western civilization, where constitutionally guaranteed rights are frequently morphed into or reduced to temporary privileges, and freedom becomes a volatile state to be granted or withheld - while at the same time allowing for basic criticism like the one offered with the show's work.

The paintings thus become multifaceted vectors of both painting's possibilities in general, and of our time more specifically. Vectors of materialized paint, whose distinct spectral palette dives deeply into the American dystopian subconscious, visually pre-thought by the likes of David Lynch, Gregory Crewdson or David LaChapelle - each known for their individual approach and mastery to create unique atmosphères noires.

Vicci Jang "We Smile In The Dark"

We Smile In The Dark

June 14- August 3, 2013

Vernissage: June 14, 6pm

Victoria Jang received her BFA in Ceramics at the University of Washington.

She is currently residing in the Bay area, attaining her MFA at the California College of the Arts in San Francisco.

The primary focus of my work is the exploration of a family unit’s psyche. This exploration is achieved through the creation of simplified anthropomorphic forms with illusory surfaces, forms with starkly differentiated shells that flatten their ostensibly three dimensional structure. The whiteness of the eyes, teeth, and any body cavity appears wholly negative next to the saturated and pigmented surfaces that encompass these features.

I appropriate the cultural roles within each member of my family and displace them as singular entities to emphasize the fragility of the human condition.

The work illuminates certain aspects of the human experience that are inherent to all people. These aspects that generate the emotional hub of the work are instability, vulnerability, and isolation. The visceral blackness and shapeless forms within the work are associated with these mental states and are difficult to poignantly express; consequently, they are not introduced to the viewer boldly. These psychological binds must be expressed through ambiguity of aesthetic and conceptual masking. By employing the mechanisms of humor and humility along with the aforementioned contrast of form, the untainted surfaces attract and command the viewer’s attention, creating a conduit to the darker emotional truths at the core of the work.

Exposing and illuminating these negative emotions may seem like a bleak proposal, but the veracity of their presence among all people is unquestionable, and consequently, worthy of analysis. And although this body of work was developed through my personal relationships, this way of exploration and confronting difficult elements of human experience can be understood universally.

We are all trying to search for a connection not only with other people but with ourselves.

Friday, March 29, 2013

Form/Space Atelier Program For May 10-June 8, 2013

Salvation, 2012 Earnest Thomas

Form/Space Atelier Program For May 10-June 8, 2013

Exhibit Title: Abstract Works In 3-D

Exhibit Duration: May 10-June 8, 2013

Vernissage: May 10, 2013 6PM

     Earnest Thomas exhibits his first solo exhibit of artwork at Form/Space Atelier, which pulls from his deep expertise in creative expression using a considerable variety of materials and techniques.  Earnest Thomas is collected and exhibited widely in the region and was the People's Choice Award Winner at the 2009 Northwest African American Fine Arts Exhibit.

Earnest Thomas describes his approach to art: 

     My passion for art is fueled by a background in design engineering, plus 27 years making jewelry, where color, size, texture and shape are significant to successful design. My work is often informed by found objects of metal. The majority of my creations are best described as abstract mixed media with a sculptural and industrial flair. My work utilizes acrylic paint on board and often incorporates aluminum, copper, brass, polished alloy wire, rod, sheet metal or metal plate as an additional dimension. The additional dimension created by the metal adds interplay between what I call the outside and inside of the work through shadow, texture and color.     I have displayed my work in Seattle, eastern Washington and Portland area exhibitions and galleries and continue to be encouraged by the viewing audience.
     Artistic expression is infinite, with new approaches being defined daily. The creative envelope, in my view, must continue to be refreshed. Hopefully my art does that. -Earnest Thomas 

Friday, March 1, 2013

Guerrilla Girls at Form/Space Atelier

Exhibit Title: The Posters: Guerilla Girls On Tour

Exhibit Duration: March 8-May 4

Vernissage: March 8, 6PM

An exhibit of feminist-themed posters with vernissage to coincide with International Women's Day March 8.

Form/Space Atelier marks the tenth edition of Feminist Eclat, an 
annual exhibit that has included a paintings exhibit by feminist and former Playboy Playmate Juliette Frette, art objects from the office of Gloria Steinem, and the artwork
of Joanna Salska, Steinem's portraitist.

In 1985, a group of women artists founded the Guerrilla Girls. They assumed the names of dead women artists and wore gorilla masks in public, concealing their identities and focusing on the issues rather than their personalities. Between 1985 and 2000, close to 100 women, working collectively and anonymously, produced posters, billboards, public actions, books and other projects to make feminism funny and fashionable. This exhibit was organized by Guerilla Girls On Tour, one of three entities affiliated with Guerilla Girls.

Guerrilla Girls On Tour, Inc.,, is a touring theatre collective founded by three former members of the Guerrilla Girls. GGOT develops original plays, performances and workshops, street theatre actions and residency programs that dramatize women’s history and address the lack of opportunities for women and artists of color in the performing arts.

Monday, January 7, 2013

Form/Space Atelier Program January 11- March 2, 2013

Form/Space Atelier Program For January 11- March 2, 2012

Exhibit Title: Faceting The Surface

Vernissage: January 11, 2013, 6PM

Lyndsey Colburn, MFA University of Washington, exhibits her first

site-specific installation at Form/Space Atelier.

Lyndsey Colburn is interested in surfaces, the history of surfaces and

detritus as they relate to traces of over-looked human activity and

manifestations of natural phenomena. In this way, Lyndsey wishes to

suggest a sense of process or narrative that is derived from daily

experiences. Faceting the Surface illustrates the artists encounter

with Form/Space Atelier's surfaces and strives to create vernacular