Gail Grinnell & Samuel Wildman: from underneath

Gail Grinnell & Samuel Wildman: from underneath
Sept 9th - Oct 3rd, 2018

Closing Event: 
Saturday, September 29th, 6 - 9pm

Gallery Hours: 
By appointment

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In Seattle during WWII, fake trees, fake buildings, and fake neighborhoods were created by Hollywood set designers to camouflage wartime manufacturing from foreign adversaries. Our show at Oxbow takes as its starting point the faithful recreation of a few of the fake trees, removed from their original context.

Our re-creation of these trees at Oxbow is meant to be seen from underneath, rather than above, where the materials we used can be most easily distinguished from the overall form intended. From up close, any real attempt at the illusion of a tree falls apart and what the viewer experiences instead are rough and provisional materials clinging to some recycled timbers– the sole representatives of a forest.

But our representation of a historical moment still maintains its resolution, whatever that might be. It sits in the same general neighborhood as the original and it is clearly cobbled together with the same materials the set designers used– feathers, chicken-wire, green flocking, burlap, and salvaged timbers. That these are somehow an appropriate set of materials for an historical recreation is conveniently ironic as they also seem to evoke the provisional methods available to us for depicting and agreeing upon the nature of historical events in general.

Recognizing the change in context, and in viewpoint, of this historical re-creation is important: how does a person experience something that is designed to be understood in one context and from one perspective, in a different context and from a different perspective? By positioning the viewer below the trees rather than above the trees, inside rather than outside, we hope to reveal something completely different and unintended, despite the fact that the objects themselves remain faithful to their historical roots.

Photographs make clear that from thousands of feet in the air these rough and provisional structures were virtually indistinguishable from real trees. From an aerial perspective alone, generally considered the most objective viewpoint, accuracy can be challenging to verify. When a singular perspective of any context is built into our experience of something– be it history, politics, social media or anything else –space for deception is created. Standing here underneath this object, the strange world that constantly demands interpretation remains, but we are momentarily free of deception, ushered in as participants in the construction of meaning and context rather than held at bay as audience members.

Dylan Neuwirth: GENERATIONS

Dylan Neuwirth: GENERATIONS

Opening Reception: 
Friday, August 3rd, 8 – 11pm
(in conjunction with openings at studio e and Equinox)

Gallery hours:
Thursday and Friday, 12 – 5pm
Saturday, 12 – 7pm

GENERATIONS is a series of simulations taking form, falling apart, and crisscrossing terrains. Each site-specific iteration is both a standalone piece of social software and integrated component of a hermetic yet ubiquitous network moving from realistic reflections to perversions of truth, orders of sorcery to dissolutions so inherently synthetic that their implied symbolism collapses into digital dust. Nothing is fixed.

About the artist:
Dylan Neuwirth (b. 1977, Athens, Georgia) is a contemporary artist working with light, space, and interactive technologies. He has participated in numerous solo, group, and public art exhibitions including curatorial and web-based projects. His work is in private and institutional collections, and has appeared in Creators, Brooklyn Magazine, Artslant, Artsy, New American Paintings, artnet, The Huffington Post, The Wall Street Journal, Beautiful/Decay, WIRED, and VICE. From 2007-2016, he executed large-scale architectural glass commissions across North America, the United Kingdom, Europe, the Middle East, and Asia as a Project Manager with Chihuly Studio. He is currently the Creative Director at Western Neon, Executive Director at Western Neon School of Art, represented by SEASON, and lives in Seattle, Washington.

Dylan is represented by SEASON.

For more information:

Klara Glosova: Delirious Dreaming Pugilist and Other Stories

Installation at Oxbow's artist-in-residence space
June 9 – July 14

Klara Glosova returns with her latest site-specific installation at Oxbow's artist-in-residence space. Don't miss the opening reception on Saturday, June 9th in Georgetown. The reception is concurrent with the annual Georgetown Carnival (starting at 12 noon).

Opening Reception:
Saturday, June 9, 6 – 9pm
(during Georgetown Carnival 2018)

Closing Reception
Saturday, July 14, 6 – 9pm

 Detail from "Delirious Dreaming Pugilist and Other Stories"

Detail from "Delirious Dreaming Pugilist and Other Stories"

About the installation:

"The cornerstone of this project is a small print of a brick wrapped in brown butcher paper and named “Pugilist”. In fact, picture two bricks. The two main characters—the stars of the show—are a pair of bricks, one for each hand. They are not particularly stunning, monumental or impressive in their presence, nevertheless their weight is considerable - they can be used as a support or to hold things down, to break through or to build with. With these qualities in mind I want to build a new narrative for what it means to be a woman fighter."

-Klara Glosova

About the artist:

Klara Glosova is a Czech-born visual artist currently based in Seattle. She is a multidisciplinary artist working primarily in drawing and painting. Her work intertwines her personal history of political activism in Eastern Europe with her experience as an artist and mother and (above all) a curiosity and playfulness that extends to both concept and materials.

Klara is also a founder of NEPO House and is always interested to see what happens when you place the inside out, invite the outside in and generally do things backwards. She received Seattle Magazine's Spotlight Award in 2013, Seattle Art Museum's Kayla Skinner Special Recognition Award, the New Foundation Fellowship and nomination for James W. Ray Distinguished Artist Award in 2014. In 2015 she was nominated for The Stranger Genius Award and a Betty Bowen Award finalist in 2017.

This project was supported in part by a grant from 4Culture.

Klara is represented by the Linda Hodges Gallery.

For more information:

I am the shadow of the image of my person

Oxbow artists-in-residence James Borcher and Jérémy Jolley present a sound and video installation in Oxbow's gallery, titled "I am the shadow of the image of my person".

Installation runs May 4 through June 3 in Oxbow's gallery: 6118 12th Ave S. Seattle, WA 98108

Gallery hours (updated)- 

May 24th-  Thursday 6:00 - 9:00pm
May 25th- Friday 6:00 - 9:00pm
May 26th- Saturday 7:00 - 10:00pm (*Seattle Modern Orchestra concert, details below)
May 27th- Sunday 6:00 - 9:00pm
May 31st- Thursday 6:00 - 9:00pm
June 1st- Friday 6:00 - 9:00pm
June 2nd- Saturday 7:00 - 10:00pm (*closing reception)

 Gallery view of "i am the shadow of the image of my person", created by artists-in-residence James Borchers and Jérémy Jolley.

Gallery view of "i am the shadow of the image of my person", created by artists-in-residence James Borchers and Jérémy Jolley.

Concert at Oxbow—Saturday, May 26, starting at 7pm:

Seattle Modern Orchestra (SMO) performs as part of the sound and video installation by James Borchers and Jérémy Jolley, "i am the shadow of the image of my person".

Members of SMO featured in the video of the installation will confront, merge with, dialogue with their image. 

Performances will be every 30 minutes:

7:00 pm - Installation alone
7:30 pm - Performance 1 with installation
8:00 pm - Installation alone
8:30 pm - Performance 2 with installation
9:00 pm - Installation alone
9:30 pm - Performance 3 with installation

Suggested donation: $5 to $15

About the installation: 
Through a large-scale interactive sound and video installation, artist-composers James Borchers and Jérémy Jolley explore the relationship between identity and representation in the age of digital artifice. Infrared sensors, multichannel speakers, and software generate an interactive experience featuring video projections of musicians from the Seattle Modern Orchestra.

As visitors move through the space, the images and sounds stratify, disintegrate, sync, and reconstruct. Visitors can enter a small dodecahedron-shaped room to immerse themselves in an audio-video collage of those same players. Through its presentation of altering human forms playing their instruments, the piece becomes part performance and part digital play, invoking both dialogic and meditative experience, and calling into question what we know to be authentic or real. 

Oxbow is a place where diverse disciplines cross and collaborate—experimenting through art installations, performances, workshops, music, films, and lectures—as well as community and private events.

This installation was made possible thanks to the support of 4Culture, JackStraw Foundation and Oxbow.

More info:

Katy Stone's site-specific installation "More Light" at Oxbow


Employing an array of materials including plastic film, paper, sequins, and ribbon, Katy Stone responds to the movement of light and shadow within Oxbow gallery to create an installation that captures and magnifies light's presence. At a time of seasonal shift, More Light explores amassment and light as fact and metaphor.

Katy Stone's work merges aspects of drawing, painting and sculpture, and is rooted in site specific, temporary installation.  She uses a variety of industrial, synthetic materials to create complexly layered, architecturally-scaled assemblages that evoke natural phenomena and explore states of transformation.  



Gallery Hours (April 1-14)

Opening Reception and Artist Talk at Oxbow 6118 12th Ave South
Saturday, March 31 from 2:00-5:00 pm
Artist Talk at 3:00 pm

Closing Reception
Saturday, April 14 (Part of the Georgetown Art Attack)

About the artist:

Stone received her BFA from Iowa State University and her MFA from the University of Washington. She has exhibited widely, including at Suyama Space; Boise Art Museum; Jacksonville Museum of Contemporary Art; McNay Museum of Art; Missoula Art Museum; University of Richmond; and at The Whatcom Museum. Her work is held in numerous collections including Boise Art Museum, City of Seattle, Columbia University, Iowa State University, Microsoft, and the McNay Museum of Art. Stone has completed major commissions for the GSA Art in Architecture Program at the Jackson Federal Courthouse, Jackson, MS; Ross School of Business, University of Michigan; Swedish Medical Center, Seattle; and Woodmont Library, Des Moines, among others.  She is represented by Ryan Lee Gallery, New York, Robischon Gallery, Denver, and Johansson Projects, Oakland.  She lives and works in Seattle.

Oxbow is a place where diverse disciplines cross and collaborate—experimenting through art installations, performances, workshops, music, films, and lectures—as well as community and private events.

"METANOIA" by Dylan Neuwirth

METANOIA is an immersive, autobiographical artwork created by Dylan Neuwirth and a team of collaborators. The Opening Reception is Saturday, February 3, from 6:00–9:00pm, with a Performance from 8:00–9:00pm.

  METANOIA:  screenshot from a virtual reality experience for Oculus Rift supported by Unity — dimensions variable, © 2016-2018 Grant Kirkpatrick, Fritz Rodriguez, and Dylan Neuwirth.

METANOIA: screenshot from a virtual reality experience for Oculus Rift supported by Unity — dimensions variable, © 2016-2018 Grant Kirkpatrick, Fritz Rodriguez, and Dylan Neuwirth.

Gallery Hours:
Saturday, February 10 from 12:00-9:00 pm, open during Georgetown Art Attack
Sunday, February 11 from 12:00-5:00 pm
Saturday, February 17 from 12:00-5:00 pm
(You may also request to view METANOIA by appointment.)

Dylan Neuwirth, Artist
Grant Kirkpatrick, Digital Storyteller
Fritz Rodriguez, Audio Technician
Robert Yoder, Representation

"METANOIA is an autobiographical body of work created from 2016-2018 with my mother, sister, and a team of dedicated collaborators. This collection of media began as a 27,000+ word artist statement in 2016 that mined my family's past, our shared addictions, and what it means to make art in a world gone insane. Through many diversions, it eventually morphed into a sculptural installation, performance piece, and virtual reality memoir.

Staged in a self-help meeting, this is the presentation of my story on the day I turn 41 and 7 years sober. These are the events that led me to be me, this current version of myself. These are the experiences that propelled me out of the black hole of alcoholism into cycles of searching, belief, and transcendence while knowing these vital concepts are impossible to define.

The exhibition centers around a box-set containing a neon sign depicting my mom's name, a blown glass Makers Mark bottle produced from memory with Jason Christian, one transparent red mix-tape, a graphic novel made in collaboration with Cold Cube Press, and a Japanese edition of Blade Runner in a VHS format. From a metal folding chair placed within environmental set pieces, I will perform an impromptu monologue about the past, present, and future while engaging for the first time with a virtual reality re-creation of my childhood kitchen generated by Grant Kirkpatrick and Fritz Rodriguez.

With this body of work: I want to tell a story, banish a kind of lingering evil, reveal aspects of myself as naked as I can, and create a place where others might see things as they possibly never have before. While this cathartic process could be fulfilling, it indeed could be a disaster, maybe a failure full of possibilities—the place I think real creativity stems from, exploding in all directions with unknown and transformative powers."

–Dylan Neuwirth

Barbara Robertson presents "Architectonic"

Witness Architectonic, Barbara Robertson's new site-specific art installation at Oxbow. It debuts Saturday, November 11, in association with Georgetown Art Attack.

Barbara Robertson fuses current events with art history, exploring the topic of Seattle's rapid expansion through the lens of Constructivism, a WWI-era art philosophy. Architectonic consists of three projected animations and an original sound score by Johanna Melamed, enveloping the viewer in the work. This project is ongoing, and will continue to expand through the end of its exhibition. 

Architectonic is on view through January 6. The gallery is open weekly—Thursdays, Fridays, and Saturdays from 4pm–7pm. (Oxbow will be closed November 23 through 25.) 


Chris McMullen: "Infrastructure"

Experience Chris McMullen's striking new installation, Infrastructure, at its Oxbow opening this Saturday, September 9. The reception will take place from 6pm–9pm alongside the Georgetown Art Attack and Van Haven III.

Infrastructure is on view through October 14. The gallery is open weekly—Tuesdays, Thursdays, and Saturdays from 10am–2pm.

Chris McMullen creates kinetic, participatory sculptures that evoke the complexities of modern life. Infrastructure is the latest in a series of artist residencies at Oxbow, each resulting in a site specific installation.

  Infrastructure  installed in Oxbow.

Infrastructure installed in Oxbow.

About Infrastructure:
The global economy has driven us to invent ways and means to move people and products around the world. Although most transactions take place in the virtual world of the internet, when it comes to delivering the product, it happens in the real, physical world, in real time.

This physical world of shipping and transportation is massive, requiring huge amounts of space and infrastructure. When our cities were first built, they were formed around these hubs of transport. It was part of a city’s appeal to have access to new goods and access to travel to other places. In some instances, a port or rail depot gave a town its reason for being.

This made way for cities to build housing complexes, shopping districts, and restaurants. As new social structures grow, they start to compete with the original infrastructure of transport. There is a back and forth, between the concerns of the metropolis and the industry that feeds it.

This work represents the massive infrastructure that has been built and is required to move people and products back and forth, and works as a metaphor for the push-pull of interests constantly trying to get their way.

For more information about the artist, visit:

Dan Webb's "The Visitor," Exhibit Opening

Join artist Dan Webb as he presents "The Visitor"—opening Thursday, June 29 from 6pm–9pm at Oxbow. This exhibition is the latest in a series of artist residencies featuring site-specific installations.

  The Visitor  (Carved Face), Dan Webb, 2016.

The Visitor (Carved Face), Dan Webb, 2016.

“I’m not an artist because of all the contemporary art I saw as a kid—I was inspired by a lot of other things that didn’t bother to call themselves art at all. And while I’m not even sure what art is exactly, it seems unlikely that it only exists in certain rooms, in certain buildings, in certain cities. It’s everywhere, if you look hard enough.

That means art is free of a permanent address. At best it’s just a visitor, showing up in surprising places at surprising times.

What I’m trying to do is just extend an invitation.

My show ‘The Visitor’ will really only have one sculpture in it. The other objects are a set of chairs, a table with cups, bowls and plates, and a carved sign out front. The relative lack of objects makes for less of a gallery experience, and more of a living room experience. Everything in the show is usable – have a drink, sit down in the chairs, touch the sculpture. Talk to me if you want, because I’ll keep regular hours during the run of the show.

In addition, on a semi-regular basis, I will give a lecture/introduction about what I mean by calling the show ‘The Visitor.’ The lecture is not a traditional artist lecture, where the work is described and explicated. It’s more of an invitation to participate in what the show is about: inclusion, conversation, relationships."
–Dan Webb

Learn more about Dan Webb's work on his website:

For more information, contact him via email:

  The Visitor  (Smooth Face Out), Dan Webb, 2016.

The Visitor (Smooth Face Out), Dan Webb, 2016.

Commentary on Commodification: Michelle de la Vega's Sugar Project

The Sugar Project explores the countless expressions and experiences of women’s commodification in contemporary culture. Artist Michelle de la Vega employs sugar throughout her work as a metaphor for society’s expectations and ultimate consumption of women—to be sweet, pleasant, and deferential above all else.

Michelle’s method deeply integrates community into the generative processes and exhibitions of her cross-disciplinary installations. Her work includes sculpture, environmental design, video, collage, photography, choreography, text, and partnership-building through project based community engagement.

Pieces of Places: A Solo Exhibition by Saul Becker

A Solo Exhibition by Saul Becker

Oxbow (6118 12th Ave S, Seattle)
February 16 - March 24, 2017

// Opening Reception: Thursday, February 16th, 5 - 9 PM
// Mutuus Sponsored Event + Talk: Friday, March 3rd, 5 - 9 PM
// Georgetown Art Attack: Saturday, March 11th

“In Pieces of Places, my recent paintings take inspiration from the grandeur and mystery of landscapes encountered on my travels to the Arctic on an ice-class schooner. Like early explorers of the world who could only bring back abstract impressions of their experiences to the masses, I do not attempt to deliver precise visual accounts of my travels to the viewer, instead I create composite landscapes from both photographic and mental image sources. My pictures are pieces of places, an amalgam that I conflate, rearrange, and manipulate. These places in their preternatural glow, seem as real to me as any. While historically landscape painting has aimed to exalt the beauty of the natural world, and therefore underline our place in it, my works seek to present a disquieting sense of uncertainty. Our place in nature is not as simple as it once was.” — Saul Becker


Mary Ann Peters' Residency and Site-Specific Installations at Oxbow

OPEN HOUSE! Sunday, January 15, 12pm-4pm.
"impossible monument (nothing but the memory)"

See the final additions to Mary Ann's installation in Oxbow's gallery space—Mary Ann will be present to discuss her process and motivations behind her latest works

Oxbow's gallery space will also be open on Saturday, January 14, 6pm-9pm for Georgetown's Art Attack.

 Sketch that describes Mary Ann Peters' concepts for "impossible monument (nothing but the memory)"

Sketch that describes Mary Ann Peters' concepts for "impossible monument (nothing but the memory)"


From December 16 (Earlier Post):

Oxbow's artist-in-residence Mary Ann Peters recently presented her first in a series of installations at Oxbow. Stay tuned for additional programming...

Artist’s Opening Reception: Saturday, 12/10, 4-7pm

In association with Georgetown’s Art Attack.
The artist is represented by James Harris Gallery in Seattle.

 Artist Mary Ann Peters working in the gallery, during her residency at Oxbow.

Artist Mary Ann Peters working in the gallery, during her residency at Oxbow.