by Matthew Kangas
JUNE SEKIGUCHI: THE PULSE OF WATER
ArtXchange Gallery, Seattle. To Nov 30
Based on her experiences on the Mekong River and in Luang Prabang, Laos, June Sekiguchi’s immersive installation consists of wood and paper cut into myriad configurations emulating the flow of river water, demonstrating how water is a connective material that unites communities and economies. A bamboo footbridge at the center allows visitors to enter an imaginary world evoking Asian cultures that revere handicrafts such as weaving and paper-cutting. Sekiguchi’s art has also been seen in Chicago, Cambodia, Morocco and Sweden.
MARIA PHILLIPS: HIDDEN IN PLAIN SIGHT
Bellevue Arts Museum, Bellevue. To Mar 8, 2020
In contrast to her metal work shown in the museum’s craft biennial, Metalmorphosis (2016), Phillips’ new work consists of materials accumulated from the daily consumption habits of her family over the span of a year. Other objects were recovered from beaches in India, Iceland, Canada and the US. This exercise has produced a startling inventory that has been, as Phillips notes, “an opportunity to consider, catalog and evaluate our relationship with consumer items.” All this – and they’re necklaces!
TRANSPARENCY: AN LGBTQ+ GLASS ART EXHIBITION
Museum of Glass, Tacoma. To Sep 30, 2020
Curator Meegan Coll of the National Liberty Museum in Philadelphia asked 23 artists to participate in this first museum exhibition of studio glass works created exclusively by LGBTQ+ artists, originally mounted for Pride 2017. The featured works involve an entire range of techniques and also mix sexually symbolic forms with more realistic figurative tableaux. Northwest artists Nancy Callan, Sabrina Knowles and Jenny Pohlman are highlighted. This is the only West Coast venue for a multifaceted show certain to challenge conventional expectations of glass art.
FAY JONES: LAS GOLONDRINAS
James Harris Gallery, Seattle. Nov 7 – 23, 2019, & Jan 8 – 25, 2020 (by app. Dec 1 – 30)
Veteran figurative-symbolist painter Fay Jones displays seven new paintings completed since the death of her artist husband Robert C. Jones late in 2018. Widely hailed within the region, Jones has not attained the greater recognition she deserves, despite several museum retrospectives and monographs. Her mixed-media paintings on paper have literary parallels in that their imagery seems consecutive and narrative, juxtaposing animals and humans, landscapes and celestial settings. Now 83, she is at the height of her powers.
DAVID HYTONE: THE ARMCHAIR LIBRETTIST
Linda Hodges Gallery, Seattle. Nov 7 – 30
For his second solo exhibition at Linda Hodges, David Hytone brings startlingly large new abstractions. The clotted, jammed and crowded compositions inform paintings that are thoroughly original, complex and often di cult to unravel. This is why people continue to look at them. Colorful, with spatially shifting and ambiguously identifiable shapes, the pictures may have been infl uenced by a year Hytone spent at Osaka University of Arts. He has been in important group shows in Oklahoma, Iowa and Germany.