SEATTLE WASHINGTON<br />886.405.4485

 

STONINGTON GALLERY CALENDAR

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Address: 125 South Jackson Street | Seattle, WA | 98104

Telephone: 206.405.4040 | Toll Free: 866.405.4485

Email: art@stoningtongallery.com

Mailing List: To join our mailing list, please send us a message at art@stoningtongallery.com. The mailing list is email only.

Business Hours (PST): Weekdays 10am-6pm | Saturday 10am-5:30pm | Sunday 12pm-5pm

Since 1979, Stonington Gallery has represented the finest contemporary Northwest Coast art. Our artists work in many media, styles and traditions, and are at the forefront of Pacific Northwest culture and art. The gallery offers full framing services and outstanding customer service. Visit us for exhibitions and events, and keep abreast of news here at our website or on Facebook.

Stonington Gallery facilitates many commissions between artists and collectors each year. Please contact the gallery with inquiries about commissioning works for your collection.

        

 

August 4 - 28, 2016

Raven Skyriver

PACIFIC

Opening Reception: First Thursday, August 4th

6-8pm

 

Raven Skyriver returns to Stonington Gallery after a whirlwind year of blowing, teaching and exhibiting in places as diverse as Japan, Turkey and Norway. He continues to add to his arsenal of techniques and expertise, using some of the most complex and difficult procedures to create marine creatures that are astoundingly lifelike. The exhibition this year will bring an incredible Mahi Mahi (shown above) blown this past spring at Pilchuck Glass School, and many more works of dazzling coloration, gravity and audacity.

 

September 1 - 30, 2016

Spectrum:

Thomas Stream

&

Dan Friday

 

Opening Reception: First Thursday, September 1st

6-8pm

 

In September we present works by painter Thomas Stream (Sun'aq Aleut) and glassblower Dan Friday (Lummi), both contemporary artists who utilize bold, brilliant color to show their respect and love for their heritage and the environment around them.

 

We are proud to present a new exhibition by contemporary Aleut painter Thomas Stream, whom we have had the pleasure of representing for decades. Stream is renowned for his dazzlingly detailed gouache paintings of wildlife that combine pointillism, Audubon, and traditional Aleutian spiral-and-dot patterns. Inspired by the traditional hunting visors of his Aleutian ancestors, Stream uses those bright colors and swirling patterns on the ancient hats to render the wildlife of the Northwest and beyond.

Stream began the Aleutian Painting series in 1996, an exploration of natural forms, vivid colors and delicate patterns. This series is encapsulated by the phrase, “We are still here,” a simple—yet poignant and powerful—statement that sums up Stream’s outlook on his heritage and his artwork. The paintings in this show are continuations of this series. Using negative space, unexpected shapes, and his hair-thin brushes, Stream invites us into a world of vibrant color untouched by human presence.

 

Dan Friday (Lummi) makes his official Stonington Gallery debut with this exhibition, though he is no stranger to the Seattle glass scene. He has been a gaffer with the Dale Chihuly team for over 15 yeas, as well as working with Paul Marioni, Preston Singletary, and James Mongrain, and has worked in the hotshops of Pilchuck Glass School and the Museum of Glass. He has been blowing glass in and around Washington for almost twenty years, and continues to hone his techniques and gather inspiration.

Friday grew up with revered Lummi weaver Fran James (1924-2013) as one of his Aunties, and he honors the Coast Salish craft of cedar bark weaving with his series of fused and blown mosaic baskets. Inspired by Coast Salish cedar bark baskets, Friday translates his Auntie's legacy to a new medium and a new audience.

"Creativity was fostered in me by my family from an early age. Living without TV and knowing our rich cultural heritage of the Lummi Nation, meant that making things with our hands was a regular activity.

When I saw glass blowing for the first time, it felt as though I grew an inch! That is to say, a huge weight was lifted from my shoulders. I had finally figured out what I wanted to be when I grew up. This was no small feat for someone who, as a youth, was rebellious and misguided. Glass altered my life. In spite of my colorful past, and by the grace of a loving community, I found my passion in glass."

-Dan Friday

 

October 6 - 30

20 Years of Weaving by

Dr. Susan Pavel


 

In Connection with the Exhibition at Suquamish Museum

 

Opening Reception: First Thursday, October 6

6-8pm

 

In October we present an exhibition of new Coast Salish-style weavings by one of the contemporary masters of the art, Dr. Susan Pavel (sa'hLamitSa). Coast Salish weaving is a specific genre and technique unto itself. The art was retained by a few master weavers, including the latesubiyay Bruce Miller, a Skokomish spiritual leader, who chose Pavel as an apprentice in the mid-1990s. Pavel, who is not Native, was chosen to carry on the technique by Miller, and has herself now taught over 500 students. 

Pavel says, "We started as just two. Now, there are hundreds. My students have taught other students. Now I know that this will not die with me when I go. The journey has been and continues to be remarkable. The essence of weaving is fulfilled because ... I am obedient to the call."

In summer 2016 she will have a major retrospective exhibition at the Suquamish Museum of her weavings--both new and from her archive. The new works will be available in her exhibition at Stonington Gallery in October.

One of Pavel's greatest achievements was the task of making the first new mountain goat hair blanket that has been woven in 100 years.  

“One of the great acts of survival is to adapt Salish weaving that had waned for quite a period of time,” said Michael Pavel, Pavel's husband and subiyay Bruce Miller’s nephew.  Michael spent 12 years gathering the wool for the blanket, tuft by tuft. It took Pavel about six months to weave it. The blanket entered the Seattle Art Museum's permanent collection in 2007. There was much fanfare, including the presentation of the blanket to Lummi elder and weaver Fran James (shown above).

"The blanket is a triumph of an ongoing quiet renaissance in Coast Salish weaving carried on by Indian and non-Indian weavers from Vancouver Island to Puget Sound and the Washington coast," wrote the Seattle Times in 2007.

Traditionally, Salish blankets/clothing are woven using a variety of animal and plant fibers including mountain goat wool, canine hair, hemp, fireweed, milkweed, cattail, cotton grass, and yellow and red cedar bark. Various plants were used to create the colors used in dying the wool. Bark from Oregon grape, stinging nettles, various lichens, and alder bark were some of these plants.
 

There are three types of techniques used in Coast Salish weaving: twill, twining, and plain. The diagonals are created by the twill weave, where the weft travels under and over the warp. Twining uses two weft yarns twisting around the warp. The plain weave is a simple over and under warp and weft.
 
Amongst Coast Salish people, blankets made from mountain goat wool are a symbol of wealth and status. During ceremonial occasions objects of wealth are given as gifts, thus leaving the donor in a place of honor and prestige. Woven blankets are distributed during weddings, memorials, naming ceremonies, and as payment to shamans for their services.

 

 

October 6 - 30

Allie High

 

New Works

 

Opening Reception: First Thursday, Oct 6th

6-8pm

 

In October we invite Alaska-based contemporary artist Allie High (Aleut/Haida/Ts'msyen) to debut new prints and painted drums at the gallery, as well as possible works in silver and glass. High's print series are well-loved by collectors, who fall for her prints of animals rendered in flowing formline, and her boldly painted drums. In the past, she has contributed works in ceramic, wood and hand-carved sterling silver to our exhibitions, and we eagerly look forward to seeing what emerges from her studio for this show. 

Allie High was born in Ketchikan, Alaska. She  is Aleut and a Ts'msyen Raven Killerwhale crest Haida from Massett, B.C. Her great grandparents were among the first to follow Father Duncan to establish New Metlakatla in the Alaska territory. She has a Master's degree in interdisciplinary studies (art, theater, and sociology) from the University of Texas in Tyler, Texas. She also has a bachelor's degree in art education from the University of Oregon. She has taught art in public schools in Alaska and Texas as well as University courses in Alaska and Louisiana. Ms. High has been an artist in residence and lecturer in museums and other cultural venues.

 

November 3 - 26

Isabel Rorick

& Robin Rorick

 

Roots That Connect Us All:
A Mother & Son Collaboration

 

Opening Reception: First Thursday, November 3rd

6-8pm

 

 

"We are all a part of a giant complex weaving of life that requires respect and love to further interconnection. The trees are nourished by earth's elements and by the life cycle of the plants, insects, fish and all the other animals. In return the trees provide gifts of life for all those who are living. It is the same for the roots that connect us to our ancestors.

Weaving, painting and carving are a part of this sacred cycle and the energies that we portray are stories that come through us when we allow it and when we take the time to listen and feel. This is the way of our ancestors."

-Isabel & Robin Rorick

 

Stonington Gallery is very proud to present an exhibition of the art of renowned Haida weaver Isabel Rorick and her son, carver and painter Robin Rorick.

The Roricks come from a line of important artists, as Isabel's great grandparents were Isabella and Charles Edenshaw, her grandmother was Florence Edenshaw Davidson, and her mother is weaver Primrose Adams. Other contemporary artists in this mighty lineage are Robert Davidson and Michael Nicoll Yahgulanaas.

Isabel is widely considered the finest living spruce root weaver on the Coast, continuing the tradition of weaving exquisitely fine hats and baskets. Her paternal grandmother, Selina Peratrovich, taught her to weave spruce root baskets from materials they had gathered at Masset. Isabel deeply respects the fact that 'Auntie' Dolores Churchill has been her mentor, and is feels proud and fortunate to have learned from 'Nonny' Selina, who was so important to her. It was only after Selina died that Isabel realized Selina had been the last active spruce root weaver of her generation.

Robin Rorick was raised on Haida Gwaii and on Hornby Island, BC, and has taken up the mantle of his heritage. A carver of great elegance and refinement, his work has the tension, flow and dynamism of the Haida masters. He has recently been mentored by Robert Davidson in the method of painting on woven spruce root. For this exhibition Robin will be painting weavings by his mother, much as Charles Edenshaw did on Isabella's weavings. He will also debut carved sculpture, including an exquisite Eagle Panel in cedar.

 

 

November 3 - 26

Joan Tenenbaum

 

Memory & Light

 

Opening Reception: First Thursday, November 3rd

6-8pm

 

 

We are proud to present an exhibition of Joan Tenenbaum's fine art jewelry in beautiful silver, gold, cloisonne and gems.

Shown here are progress photographs from the workbench, detailing just a few of the steps to making a new pendant for the exhibition. Tenenbaum's eye for quality, detail, wearability, and elegance is unparalleled.

We look forward to seeing what she has been busily creating throughout the year for this exhibition!

 

 

December 1 - January 2017

Into the Woods

 

 

 

 

Forests of the Northwest Coast

 

Opening Reception: First Thursday, December 1st

6-8pm

Last year's Resurgence: Rivers of the Northwest Coast exhibition was a landmark exhibition that brought together some fo the finest and most thoughtful works we have ever seen at our gallery. Our artists were inspired by their personal connections with rivers as far north as Alaska and as far south as Oregon, and showed their care, concern and love for these mighty water systems with artwork that was varied and wonderfully diverse. This year, we continue to explore what makes the Northwest such a vibrant, unique environment with Into the Woods: Forests of the Northwest Coast.

Forests have many faces: they are backdrops for epic journeys, where people become lost or found; places of transformation where what goes in is not the same as what comes out; places where our imaginations run wild and we face our own darkness, myths and secrets. Great mythological beings that inhabit these forests are as complex and fascinating as the web of life they live within. In much of Northwest Coast mythology they are places where animals and human-kind meet, clash, transform, and where the prey/predator divide is stark. 


The forest is a mighty meeting place: rivers and streams meet the roots of tremendous trees, salmon meet bears, nutrients are sucked up into the trees, and cycles continue. Forests drape the feet of mountains like skirts, connecting lowlands and alpine pinnacles, creating liminal spaces between the two where species and ecosystems change with every foot of altitude. At times, the woods are calming and peaceful, where we find communion with nature, animals, solitude; or they can be frightening, bewildering, without friend or end. 

In the hands of skilled artisans, one single giant western red cedar tree can provide wood for a canoe, house, bowl, mask, cape, hat, rattles and mats. To know a tree so well as to perfectly craft every part of it into something as beautiful as it was functional is a remarkable skill. 

 

 

 

 

 

All images copyright © Stonington Gallery or ZensPhoto.