Timothy Cross (born Seattle, Washington, 1969)
Test Beach, 2007
Ink, watercolor, and Liquid Paper on canvas
Courtesy of the artist
Timothy Cross (born Seattle, Washington, 1969)
Camera Test, 2009
Ink, acrylic, and Liquid Paper on canvas
and panel
Courtesy of the artist
Timothy Cross’s paintings convey a type of generalized anxiety
about the precarious state of the world. His fragmented and
disintegrating machines are held in place by forms of rigid
scaffolding, arranged without engineering elegance but with a
sense of urgency and a brute, pragmatic show of brawn. Cross’s
work might be best described as a stylistic hybrid, fusing
abstraction and realism to visualize a way to understand the
world where different perspectives collide.
Timothy Cross earned a bachelor’s degree in ceramics, painting,
and drawing at the Evergreen State College in Olympia and a
master of fine arts in painting and drawing from the School of the
Art Institute of Chicago. He has had one-person exhibitions at
Gallery IMA, Gallery 4Culture, and Richard Hugo House in Seattle,
Fallout Gallery in Las Vegas, and Contemporary Arts Workshop in
Chicago. His work has been included in group shows at
Lawrimore Project, SAM Gallery, SOIL, Davidson Contemporary,
and Center on Contemporary Art in Seattle. He was awarded an
Artist Trust GAP grant in 2007 and has had his work published in
New American Paintings and Portland Modern. His work is in the
collections of King County and the City of Seattle.
Eric Elliott (born Anchorage, Alaska, 1975)
Untitled, 2008
Oil on canvas
Private collection
Eric Elliott (born Anchorage, Alaska, 1975)
Studio Corner, 2009
Oil on canvas
Courtesy of the artist and James Harris Gallery, Seattle
Eric Elliott’s quiet still-life paintings capture the essence of forms
using minimal color. He seeks to dissolve distinct boundaries:
between form and shadow; between foreground and recession;
and between realism and illusion. His intent is to generate a
subtle interplay between the surface of the canvas and the
depiction of traditional perspective. His paintings test the
boundaries between pure abstraction and still life.
Eric Elliott earned a bachelor of arts in art practice from
University of California, Berkeley and a master of fine arts in
painting and drawing from the University of Washington. His
work was selected for Tacoma Art Museum’s 9th Northwest
Biennial. He has shown his work at Seattle galleries, including
James Harris Gallery, SOIL, Catherine Person Gallery, and Ouch
My Eye. He has received a grant from Artist Trust and was a
finalist for the Betty Bowen Award from Seattle Art Museum,
where he received the Kayla Skinner Special Recognition Award.
His work has been reviewed in City Arts, the Stranger and the
Seattle Post-Intelligencer. He teaches at Gage Academy of Art,
Highline Community College, and North Seattle Community
College. Elliott is represented by James Harris Gallery in Seattle.
Gary Faigin (born Detroit, Michigan, 1950)
View Property, 1999
Oil on canvas
Collection of Jerry Anches
Gary Faigin, a leading proponent of realist painting in the
Northwest, focuses on a distinct combination of draftsmanship
and engagement with the history of realist painting. He deftly
adapts various approaches to suit his subject matter, easily
moving from landscape to portraiture to still life. In these two
works, Faigin uses traditional landscape imagery as a setting to
highlight the precarious predicament of human beings.
Gary Faigin (born Detroit, Michigan, 1950)
Fall Group Portrait, 2008
Oil on panel
Courtesy of the artist
Gary Faigin studied at the University of Michigan, Ann Arbor, the
Art Students League of New York, and the École nationale
supérieure des beaux-arts in Paris. He has had one-person
exhibitions at the Frye Art Museum and Woodside/Braseth Gallery
in Seattle and the Coos Art Museum in Coos Bay, Oregon, as well
as group shows at galleries in Santa Fe, Santa Barbara, San
Francisco, and New York. His work has been included in a number
of survey and instructional books and has been highlighted in
newspaper and journal articles. His works are in the collections of
the City of New York and the Museum of Fine Arts, Santa Fe, as
well as several corporate collections, including Boeing
Corporation, Immunex, and Merrill Lynch. Faigin is the co-
founder, Artistic Director, and a senior instructor at Gage
Academy of Art in Seattle. He is also an art critic for KUOW.
Joey Kirkpatrick (born Des Moines, Iowa, 1952)
Flora C. Mace (born Portsmouth,
New Hampshire, 1949)
Zanfirico Plum, 1996
Blown glass
Tacoma Art Museum, Gift of Jerome Whalen, 1998.31.1
Joey Kirkpatrick (born Des Moines, Iowa, 1952)
Flora C. Mace (born Portsmouth,
New Hampshire, 1949)
Zanfirico Apple, 1998
Blown glass
Tacoma Art Museum, Promised gift of
Anne Gould Hauberg
Kirkpatrick and Mace began their collaboration as a way to
translate Kirkpatrick’s drawings onto glass forms, with Mace
working on the technical challenges. They are best known for
their glass still-life assemblages of brilliantly colored fruit.
Zanfirico is the name for the twisted filigree glass cane that is
fused to create the decorative patterning in glass vessels and
sculpture. It is believed to come from the misspelling of the
name Antonio Sanquirico, a 19th-century Venetian glass dealer.
Joey Kirkpatrick (born Des Moines, Iowa, 1952)
Flora C. Mace (born Portsmouth,
New Hampshire, 1949)
Still Life with Plums, 2000
Off-hand blown glass with wood bowl
Courtesy of the artists
Joey Kirkpatrick and Flora C. Mace have worked collaboratively
for 30 years. Kirkpatrick graduated from the University of Iowa
with a bachelor of fine arts in drawing and Mace graduated from
the University of Illinois with a master of fine arts in
sculpture/glass. They have shown their work at museums,
including the Museum of Fine Arts, Boston, Seattle Art Museum,
Portland Art Museum, and the Arts Center in St. Petersburg,
Florida. Their work is included in many collections, including the
Corning Museum of Glass in New York, The Detroit Institute of
Arts, Hokkaido Museum in Japan, the Metropolitan Museum of Art
in New York, Musée des arts décoratifs in Lausanne, Switzerland,
and the Renwick Gallery, Smithsonian American Art Museum in
Washington, D.C. They have been closely involved with Pilchuck
Glass School for many years as teachers, artists-in-residence,
and board members.
Sabrina Knowles
(born Monterey, California, 1955)
Jenny Pohlman (born Cincinnati, Ohio, 1960)
Memory Unchained from the Tapestry series, 2008
Blown, sculpted glass, beads, antique beads, nuts, seeds, pods,
found objects, gold leaf, copper, and brass
Courtesy of the artists and Duane Reed Gallery, St. Louis,
Missouri
Sabrina Knowles
(born Monterey, California, 1955)
Jenny Pohlman (born Cincinnati, Ohio, 1960)
Abena II, 2003
Off-hand blown / sculpted glass, beads, artificial sinew
Courtesy of the artists
From their first collaborative efforts, Pohlman and Knowles have
explored the inherent physical properties of glass—its fluidity,
plasticity, and strength—rather than its history as a material to
construct vessels. Finding inspiration from both ancient and
contemporary sources, Pohlman and Knowles create sculptural
forms and installations that evoke the sensuous curves of the
female figure, the exuberance of sub-Saharan African culture, or
the serenity of Southeast Asian Buddhist architecture. They
believe that the beauty in all of these places can help sustain
future generations.
Sabrina Knowles and Jenny Pohlman have worked collaboratively
for 17 years. Their work has been exhibited regularly at galleries,
including Duane Reed Gallery in St. Louis, Missouri, Friesen
Gallery in Sun Valley, Idaho, and Pismo Gallery in Denver. Their
work is in the collections of the Museum of American Glass in
Millville, New Jersey, the Museum of Glass in Tacoma, Racine Art
Museum in Wisconsin, and the Mobile Museum of Art in Alabama.
Their work has been published in Metalsmith, New Glass Review,
and the Seattle Times, as well as several books on glass art.
Knowles and Pohlman have been affiliated with Pilchuck Glass
School and Pratt Fine Arts Center throughout their careers.
Lynda Lowe (born Cleveland, Ohio, 1953)
Psi: The Uncertainty Principle, 2008
Watercolor, oil, and wax on panel
Collection of Kurt and Michaela Carlson
Sensitive to the complexity of her explorations, Lynda Lowe
tracks how multiple fields of inquiry (science, philosophy,
literature) shape contemporary thinking. Psi: The Uncertainty
Principle is Lowe’s representation of the theory of the same
name set forth by the German physicist Werner Heisenberg.
Through her layering of text, mathematical formulas, and
imagery, Lowe paints an understanding of “Heisenberg’s
uncertainty principle” that records how the very act of
observing an object or phenomena changes or influences
what is being observed.
Lynda Lowe (born Cleveland, Ohio, 1953)
Liber Abaci, 2008
Watercolor, oil, and wax on panel cast in hydrocal
Collection of David L. Madeira
Lynda Lowe earned a bachelor of fine arts from Alma College in
Michigan and a master of fine arts from Indiana University in
Bloomington. She has had one-person exhibitions at the
University of Puget Sound in Tacoma, Elmhurst Art Museum in
Illinois, Miami University Art Museum in Oxford, Ohio, and the
Chicago Cultural Center. She has received grants from the Illinois
Arts Council, the Fulbright-Hays Foundation, and the Ford
Foundation. Her work has been reviewed in ARTNews, the
Cincinnati Review, the Boston Globe, and the Chicago Reader.
Her work is in the collections of Seattle University, Illinois
State Museum, and the State of Illinois. Lowe
is represented by Gail Severn Gallery in
Ketchum, Idaho, and Arden Gallery in
Boston, Massachusetts.
Benjamin Moore
(born Olympia, Washington, 1952)
In collaboration with Louis Mueller
Amsterdam, 2005
White and clear glass rondels with primary colored spiral wraps
and an armature of fabricated bronze with red powder coat
Courtesy of the artist and Foster/White Gallery, Seattle
Benjamin Moore
(born Olympia, Washington, 1952)
Interior Fold Set, 1996
Blown glass; color: straw with yellow spiral wrap
Courtesy of the artist and Foster/White Gallery, Seattle
Benjamin Moore’s glass focuses on form, volume, and color.
Expanding on the tradition of glass vessels, he uses the material
properties of glass to create exquisitely proportioned objects.
Moore maximizes the fluid properties of molten glass during the
creation of his vessels to create perfectly symmetrical objects
with complex curves. He manipulates gradations of both color
and transparency to heighten the elegance and tension of his
vessels. Recently, Moore has expanded his hotshop
collaborations to create installations that adapt aspects of
traditional forms and techniques into spatial environments.
Benjamin Moore earned a bachelor of fine arts from the California
College of the Arts in Oakland and a master of fine arts from
Rhode Island School of Design. His work has been shown in
numerous exhibitions at galleries and museums throughout
North America, Europe, and Asia. His work is in many museum
collections, including the Museum of Arts & Design and the
Corning Museum of Glass in New York, the National Museum in
Stockholm, Sweden, the High Museum of Art in Atlanta, and
Niijima Contemporary Glass Art Museum in Japan. He was
awarded a National Endowment for the Arts Fellowship, and his
work has been published in ARTNews, Glass Magazine, Neus
Glas, and American Craft. He has taught at Pilchuck Glass School,
Penland School of Crafts, Haystack Mountain School of Crafts,
and Niijima Glass Art Center. Moore is represented by
Foster/White Gallery in Seattle.
April Surgent (born Missoula, Montana, 1982)
Between the Night and the City, 2005
Fused and engraved glass
Collection of Jim and Devon Surgent
April Surgent (born Missoula, Montana, 1982)
The Window-Shopper's Supper, 2009
Fused and engraved glass
Courtesy of the artist and Bullseye Gallery, Portland
April Surgent updates the tradition of cameo glass, evoking its
memorial function and expanding its associations beyond
heirlooms or historic artifacts. Because her images are engraved
on thin sheets of fused glass, Surgent employs the obvious
metaphor of the fragility of glass to challenge the assumption
that these historical artifacts represent permanence and
unchanging, unfaded memory. Translating photographs that she
made of mundane places or actions, her imagery focuses on the
beauty of the everyday, further denying the precious qualities of
traditional cameos.
April Surgent graduated from Australian National University in
Canberra with a bachelor of fine arts. She has had several one-
person exhibitions at Bullseye Gallery in Portland, and her work
has been included in group shows at Palos Verdes Art Center in
California, Friesen Gallery in Seattle, and Spiral Gallery in Bega,
Australia. Her work is in the collections of Hotel Murano and
Museum of Glass in Tacoma, the Chrysler Museum of Art in
Norfolk, Virginia, and the Embassy of Spain Art Collection in
Canberra, Australia. Surgent’s work has been published in New
Glass Review and Western Art & Architecture. She has taught
workshops at Pilchuck Glass School, Australian National
University, and UrbanGlass in Brooklyn.
She is represented by Bullseye Gallery in
Portland, Oregon.
Ned Behnke (born Seattle, Washington,
1948–1989)
Imperial Lily, 1984
Oil on canvas
Tacoma Art Museum, Gift of the Behnke Family, 2003.64
