PETER BOOME KEVIN PAUL PETER DUNTHORNE

Please join us for a celebration of the work of these artists on Saturday, February 4th,

3 – 7pm. Show dates February 3rd – March 25th. Gallery Hours: Fri Sat Sun noon – 5

Among the tribal people of the Northwest cultural area there are four worlds. The natural worlds are the Sea, Land and Sky, abundant with life familiar to us: Eagles, Ravens, Killer Whales, Salmon, Bears, et.al. The fourth world, or Spirit World, is accessed only by certain people, often with the assistance of particular animals and their power. The same animals that we recognize today long ago interacted with humans, resulting in remarkable, or supernatural, events that enhanced the human realm. Raven stealing the Sun, Moon and Stars to bring us light is likely the best known. Geographical features and supernatural animals such as Thunderbird are also involved in many parts of tribal histories. Natural & Supernatural: Contemporary Art of the Northwest Coast, our latest show at Gallery Cygnus is part of the ever-evolving tradition of representing the history, mythology, identity and ownership for the people of the coast. Individual artists in this show work within this context, but they also exhibit a wide range of style and expression. They push the boundaries through this effort.

Guest Curator

Peter Dunthorne

Peter Dunthorne's Devilfish Panel
Carved Yellow Cedar / Acrylic Paint 17" x 34 1/2 " $2200 SOLD

Peter Dunthorne's Black Crab Panel
Carved Yellow Cedar / Acrylic Paint 20" x 28" $1400

Peter Dunthorne's Red Crab Panel
Carved Yellow Cedar / Acrylic Paint 20" x 28" $1400

Peter Dunthorne's Eagle/Salmon
Carved Red Cedar / Acrylic Paint 58" x 59" $4500 SOLD

Peter Dunthorne's Nuu-Chah-Nulth Canoes
Red Cedar / Acrylic Paint Ranging 24" - 40" long, 6" - 8" high at bow $250 - $500

Peter Boome's "Prosperity"
Serigraph on Rag Paper 15" x 15" $100

Peter Boome's "Renewal"
Serigraph on Rag Paper 15" x 15" $100

Peter Boome's "Serenity"
Serigraph on Rag Paper 15" x 11" $100

Anne Schreivogl has evolved into an artist with stature and a growing fan base in an amazingly short time. Her whimsical notions in paint are a refreshing antidote to Northwest gloom and belie a serious study of color.

What is also perhaps not apparent is that behind such sensual delight is an artist with humanitarian intentions.

Anne has committed to delivering 40 paintings to Japanese citizens who continue to be displace by the March 11th, 2011 tsunami. She will hand deliver this work exactly one year after the desaster.

You can view Anne’s new work and support her endeavor. See this heartfelt work. Purchase one of the paintings in the gallery and help send Anne on her way to Japan with the 40 cherry blossom paintings she created especially for the people who are still living in temporary housing, awaiting relief. (Many of the paintings are 5 x 5 inches and are only $200!)

Some examples from the show:

Hope #3
5 x 5" $200

Hope #2
5 x 5″ $200

Forest Folly
30 x 30″ $1,800

Spring Dance
12 x 12″ $550

 What is also perhaps not apparent is that behind such sensual delight is an artist with humanitarian intentions.

 Anne has committed to delivering 40 paintings to Japanese citizens who continue to be displace by the March 11th, 2011 tsunami.  She will hand deliver this work exactly one year after the desaster.

 You can view Anne’s new work and support her endeavor.  See this heartfelt work.  Purchase one of the paintings in the gallery and help send Anne on her way to Japan with the 40 cherry blossom paintings she created especially for the people who are still living in temporary housing, awaiting relief.   (Many of the paintings are 5 x 5 inches and are only $200!)

 Some examples from the show:

Hope #3
5 x 5" $200

Hope #2
5 x 5″ $200

Forest Folly
30 x 30″ $1,800

Spring Dance
12 x 12″ $550

"Yonder IV" by Maggie Wilder o/c 13x13.5 $550 SOLD

Theodora Jonsson and Maggie Wilder are showing together again with an intriguing mix of paintings and sculpture exploring the theme of “source.” Theodora’s work with whale bones and sonic frequencies is an inquiry into our origins.  Wilder’s paintings keep looking up toward the headwaters from which a river flows, asking a similar question of water.  Where are the origins of a phenomenon that is circular?  Come and wonder! 

An opening celebration will be held Saturday, September 10th, 4 – 7pm.  Light refreshments & lively conversation provided.

Some images from the show:

"Yonder II" by Maggie Wilder
o/c 16x23 $800

"Yonder I" by Maggie Wilder
o/c 10x10.25 $425 SOLD

"Gush" by Maggie Wilder
o/c 35x23 $1,250

"Navigation Inverse" by Theodora Jonsson
Etched Sandcast Glass $1,650

"Seeking Source" by Maggie Wilder
o/c 35 x 24 $1,250 SOLD

"Vanishing Light" by Maggie Wilder
o/c 35x23 $1,250 SOLD

“Swaying Nets” by Maggie Wilder
o/c 13.5×71 $1,800 SOLD

"River Jar with Salmon" by Maggie Wilder
o/c 23.5 x 35 $1,250

"My Mother as Kwan Yin" by Maggie Wilder
o/c 35 x 23 $1,250

"Moon Drift" by Maggie Wilder
o/c 14 x 22 $775

Theodora Jonsson's Minke Whale Call
Record Cast Glass $1,650

"Arial Tide" by Maggie Wilder
o/c 13x35 $1,000 SOLD

"Following the Light" by Maggie Wilder
o/c 35 x 24 $1,250 SOLD

"Yonder IV" by Maggie Wilder o/c 13x13.5 $550

Theodora Jonsson and Maggie Wilder are showing together again with an intriguing mix of paintings and sculpture exploring the theme of “source.” Theodora’s work with whale bones and sonic frequencies is an inquiry into our origins.  Wilder’s paintings keep looking up toward the headwaters from which a river flows, asking a similar question of water.  Where are the origins of a phenomenon that is circular?  Come and wonder! 

An opening celebration will be held Saturday, September 10th, 4 – 7pm.  Light refreshments & lively conversation provided.

Some images from the show:

"Yonder II" by Maggie Wilder
o/c 16x23 $800

"Yonder I" by Maggie Wilder
o/c 10x10.25 $425 SOLD

"Gush" by Maggie Wilder
o/c 35x23 $1,250

"Navigation Inverse" by Theodora Jonsson
Etched Sandcast Glass $1,650

"Seeking Source" by Maggie Wilder
o/c 35 x 24 $1,250 SOLD

"Vanishing Light" by Maggie Wilder
o/c 35x23 $1,250 SOLD

“Swaying Nets” by Maggie Wilder
o/c 13.5×71 $1,800 SOLD

"River Jar with Salmon" by Maggie Wilder
o/c 23.5 x 35 $1,250

"My Mother as Kwan Yin" by Maggie Wilder
o/c 35 x 23 $1,250

"Moon Drift" by Maggie Wilder
o/c 14 x 22 $775

Theodora Jonsson's Minke Whale Call
Record Cast Glass $1,650

"Arial Tide" by Maggie Wilder
o/c 13x35 $1,000 SOLD

"Following the Light" by Maggie Wilder
o/c 35 x 24 $1,250 SOLD

Mary Randlett has been making photographs for over sixty years and is the Northwest’s premier landscape photographer. Equally impressive is her collection of artist portraits of the Northwest artists who were her friends and colleagues.  This collection of silver gelatin prints on view at Gallery Cygnus includes her latest darkroom work.

Cathy Stevens has also been professionally documenting the Northwest art scene for decades.  Included in this show is the subsequent generation of artists, mostly of the Skagit Valley.  Cathy’s work includes black & white silver gelatin prints, as well as digital versions, and some affordable 5 x 7 portraits of the Skagit Valley’s most widely shown artists.

Guy Anderson
Silver Gelatin Print by Cathy Stevens

John Simon
Silver Gelatin Print by Cathy Stevens

Ann Morris
Silver Gelatin Print Mary Randlett

Maggie Wilder
Silver Gelatin Print by Cathy Stevens

Clayton James
Silver Gelatin Print by Mary Randlett

Charlie Krafft
Silver Gelatin Print by Mary Randlett

Elizabeth Tapper:  Formally speaking, both line and color create mass.  Think Rothko, think Rembrandt.  With Rembrandt, his paintings were well-tended fields of dense line, and with Rothko there was only well tended fields of color.  Kathleen’s painting “Burst #4” reminds of us of a dandelion somewhat, but the “object” (dandelion) is completely reliant on the variegated shades of brilliant yellows and greens that surround it.  In the other floral paintings the mass of color field is predominant with just hints of line at the edges of mass.  It’s brilliant.

MW:  Yes, I noticed when I gaze at the paintings, the distinction between the form and color field begins to blur and finally, I’m not perceiving form at all, but more absorbing the total energetic field.

I am intrigued that McCarty made a leap into printmaking, and I love comparing the prints to the paintings.  They’re made completely differently, and the result is the prints are this crisp delineation of object.  Yet what stands out in both mediums is the buoyancy of life forms.  As a master printmaker, what are you seeing in her prints?

ET:  Her serigraphs on wood and paper are nearly flawless.  I admire process that is skillful.  Every medium has its voice, its persona.  I enjoyed the artist’s “separation” of color fields (the painting) and the clarity of the line (the prints).  Each held the image and complimented the other.  The flatness of silkscreen technique seems to emphasize the quality of the line in the prints.  In the paintings, the surface gives us hints into the work of the hand holding the brush. And this feeling, of course, is completely absent in the world of computer-generated imagery.

MW:  What’s interesting to me about all the work in this exhibit, certainly including Steve Immerman’s glass pieces, is that you really cannot get a sense of the power of the work by seeing it on an electronic screen.  I realize the irony that readers will be on our website reading this, where we’ve posted images of the show. I so hope people will come see this work and bask in the radiant color in person.  The scale of the paintings makes the work a small scale environment.  And the glass pieces, are small worlds, volumes of color and form that are incisive specimens of what could be origins of life. None of it can be imagined from a flattened picture, electronic or otherwise.

Chromaphilia is on display through August 28^th at Gallery Cygnus.  Hours are 12-5pm, Friday, Saturday & Sunday.

Please come see the fabulous color works of Kathleen McCarty and Steve Immerman.  This show is truly a feast for the senses.  We’ll be celebrating Chromaphilia (it’s legal!) between 3 – 5 p.m., Saturday, July 2nd with dessert for palate and eye.  Show continues through August 28th.

The work of both these artists seem to enter our experience from the eye to the heart, bypassing critical thinking or even recognition, allowing moments of a pure sensational joy.

Steve Immerman's "Exposure #11"

Kathleen McCarty was formally schooled at the Chicago Art Institute,  traveled abroad in her studies, and settled in the Pacific Northwest to establish a painting practice focusing on motion & color, inspired by living in the forest.

Kathleen McCarty's "Burst #4"

Her current work is inspired by the life of flowers.  The paintings seem to be made of frequencies just on the edge of visibility.  With sustained viewing, they seem to expand the visible spectrum, sensitizing the view’s ability to (perhaps) see auras.

Her prints follow the buoyant life of flowers also, but employ the

Kathleen McCarty's "Falling"

crisp edge of knife work to take us into a world where we breathe not air, but color.

Steve Immerman has been a glass artist for 25 years, balancing his life as  surgeon, artist, scientist, sensualist.  The refined geometrics of this series called “Exposures” are

Steve Immerman's "Exposure #10"

hermetic worlds, containing pattern and light not unlike small aquariums.  His sense of color feels almost like a flavor on the tongue, and a delicious one at that.

Steve immerman's "Exposure #20"

Steve Immerman's "Exposure #26a"