2017 Seattle Center Sculpture Walk

August 3 – December 31, 2017

 

This fall, eight artists invite you to discover Seattle’s cultural “Heart of the City” where all people can feel a sense of belonging, and participate in community and something bigger than themselves. Seattle Center Sculpture Walk is brought to you through the support of Seattle Center, and the Office of Arts & Culture, with the sponsorship of Alaska Airlines.

***Special Offer: Snap your pic or video of the temporary art installations at Seattle Center, upload to Facebook, Instagram or Twitter, and tag it with #iARTAlaska. Make sure your post is Public. On the first of each month (September thru December), we’ll select one winning post to receive round trip air travel for two on Alaska Airlines. More info: seattlecenter.com/art

Seattle Center Sculpture Walking Tour
Thursday, September 21, 6-7 p.m.
The tour will start at the Monorail platform, located northwest of the Space Needle, and will end in the Armory where guests, 21 and up, may participate in Seattle’s Best Damn Happy Hour featuring a no-host bar and specials in the Armory restaurants. 

Sitting Pretty
Hugo Moro

Hugo Moro’s Sitting Pretty weaves recycled vinyl banners into benches on the Seattle Center campus to enliven the visitor’s experience. Through this work, Moro explores ideas of conservation and up-cycling in the visual arts.

chimeforest
April Soetarman

For chimeforest, April Soetarman created a series of suspended metal pieces tuned to a five or seven musical tone Javanese gamelan scale. This temporary installation incorporates sonic diversity and serves as a complement to the permanent sound installations featuring Western harmonies at Seattle Center, including the Artists at Play playground by Northwest artists Judith Caldwell and Trimpin, and Dan Corson’s Sonic Bloom.

Lattice
Henry Jackson-Spieker

Henry Jackson-Spieker’s Lattice uses specific materials to represent Seattle’s industrial past, creative industries present, and changing future. Through this focus on the past, present, and future of Seattle, the artist illustrates how the center or focus of the city has changed. Jackson-Spieker chose steel, wood, and aircraft cables to represent Seattle’s industrial past and anchor the work, both literally and figuratively, in a woven web. Seattle’s present is represented by blown glass and cast bronze, symbolizing the tangible elements of Seattle, such as technology and industry, and its intangible elements of music, art, and culture. To represent Seattle’s future, Jackson-Spieker uses both the lighting of the covered walkway and the shape of the entire sculpture to mark the center of the city: anyone walking or standing under the sculpture becomes Lattice’s focal point.

Lodestar
Randi Ganulin

Randi Ganulin’s Lodestar is inspired by the Hindu myth of the god Indra’s casting of a net over the Earth. Ganulin’s artwork represents Indra’s infinite net, adorned with mirrored jewels at each juncture, so that each reflective gem infinitely reflects every other.

Resilience
Erin Genia

Using a rainbow palette to signify the celebration of diversity at Seattle Center, the “Heart of the City,” Erin Genia created a hand-pieced Morningstar banner. The Morningstar is a Native American symbol for patience and purity, attributes revered in the face of conflicting views on diversity.

To see the Morningstar, follow Venus: it can be seen as the brightest light in the east before dawn and in the west before the sun has set. Resilience carries the message that diversity is beautiful and pays homage to urban Native people’s resilience through vibrant cultural expression.

Wake Up Call
Kalina Chung

In Chinese culture, 2017 is the Year of the Rooster. With 2017 came a new American presidential administration, which has led to national clashes of cultural differences and beliefs. Kalina Chung’s Wake Up Call incorporates American roosters as weathervanes atop poles around Key Arena entrances. The weathervanes are repurposed and display red and gold, the traditional celebratory colors of Chinese New Year, while the rooster symbolizes civil responsibility, protection, and courage.

Camouflage Net Project
Tara Tamaribuchi

On the 75th anniversary of Executive Order 9066, which sent more than 100,000 people of Japanese descent to prison camps during World War II, Tara Tamaribuchi’s Camouflage Net Project highlights the camouflage net factories at the Santa Anita Assembly Center, Manzanar and Gila River internment camps, where Japanese Americans made tens of thousands of these nets for the U.S. Army.

Tamaribuchi stated that “the intention of this installation is to connect my handiwork to that of my incarcerated community, send pride of heritage back to them through use of traditional kimono fabric, and create a discrimination filter with camouflage. Camouflage protects people and objects by blending them into their surroundings. In 2017, we are witness to federal policies that discriminate against race, religion, sexual orientation, and other identifiers. This camouflage is a metaphor for protection from discrimination. It acts as a filter through which we see the true nature of people, as interconnected with each other and the world.”

Rest to the Nest
Sofia Babaeva

The title of Sofia Babaeva’s work, Rest to the Nest, elevates geography as an important aspect of identity. Babaeva was inspired by barn swallow nests here in the Pacific Northwest that are often seen tucked under bridges, covered walkways, and awnings. Year after year, the swallows return to the same nests to rest, and the colonies swell in size with each hatchling. In this installation, the artist draws parallels between human settlements and social structures and colonies of barn swallows. Through Rest to the Nest we can explore how proximity and privacy coexist in groups of built structures, and how they can create respite and safety from social stressors, tighten social bonds, and build communities.

New poetry and art at Seattle Center

Seattle Center is expanding their investments in temporary
artworks with the new Poetry Garden Art Series

Four artists have been commissioned to create temporary interventions in the Seattle Center Poetry Garden to call attention to the unique character of the site, a space designed to ask visual artists to draw inspiration from the written word.

The Office of Arts & Culture and the Seattle Center have a 40 year history of partnering to bring permanent and temporary artworks to the Seattle Center campus. In 2015, the two organizations jointly invested in emerging artists by providing training and commissioning seven artists to create site specific temporary artwork for the campus. The 2016 Poetry Garden Art Series is a continuation of this investment.

The Poetry Garden was envisioned at its inception to be a site for temporary art activations. The garden, in the heart of the Seattle Center campus, is composed of crushed granite paths punctuated by 12 sculpted, polished, pink granite boulders engraved with an eclectic selection of poems by various authors. The boulders were sculpted and sited by artist/sculptor John Hoge.

Artists Elizabeth Gahan, Naoko Morisawa, Natalie Ball and Tara Tamaribuchi were selected to create temporary artworks in the garden. ARTS has also formed a partnership with Porchlit to have readings in the garden to complement each installation.

Schedule:

Elizabeth Gahan February 1 – May 1, 2016

Elizabeth Gahan has built a practice of creating dynamic forms from recycled materials. With her installation in the Poetry Garden she will create an array of bright flowers all made from reused and recycled materials.

Gahan is a Seattle-based artist. She received a dual undergraduate degree in Global Studies and Fine Art from the University of California, Santa Barbara, and a Master’s degree in Fine Art from Claremont Graduate University in Claremont, CA with an emphasis in painting. Gahan then attended a residency program at the Banff Centre, Canada to pursue installation art. Her current art practice combines 2D studio art and 3D installation art. Gahan currently works from a space at Equinox Studios in Georgetown, Seattle.

Naoko Morisawa May 9 – August 1, 2016

Naoko Morisawa will create a pattern of Morse code made of colorful garden hose tubing. She is transforming a functional garden material into an art object by amplifying the form and color of the garden hose.

Morisawa received a BA in Design from Tama Art University, Tokyo. Her (Seattle) artwork is made of hundreds of very small slices of natural/oil-dyed woodchips on board. The variety of wood grain and the pattern is never the same. The combination of natural grains creates interesting shadows and impressions. When seen from a distance, her artwork looks like a painting, and the details of the work slowly emerge when the viewer comes closer. Bright, fun, and unusual subjects attract and inspire her to work in new directions. Mysterious creatures and illusions are recurring themes.

Natalie Ball August 8 – October 31, 2016

Installation artist Natalie Ball will use the garden as a space to hang a large-scale textile artwork of doll houses that explores indigenous domesticity. The artwork will mix the tradition of storytelling through fiber arts to take a hard look at the conditions and experience of indigenous women.

Ball was born and raised in Portland, Oregon. She has a Bachelor’s degree in Ethnic Studies from the University of Oregon and she furthered her education in New Zealand at Massey University where she attained her Master’s degree in Maori Visual Arts. Ball is an indigenous artist who examines internal and external discourses that shape Indian identity through contemporary art.

Tara Tamaribuchi November 6, 2016 – January 31, 2017

Tara Tamaribuchi will respond to the panoramic landscape of the Poetry Garden through the lens of 16th Century Japanese screen paintings, by featuring cloud forms made of gold buttons that frame the foliage of the area.

Tamaribuchi received a BA in Journalism from George Washington University, Washington, DC and a BFA in Painting from Pacific Northwest College of Art, Portland, OR. Tamaribuchi’s work today is driven by the desire to revel in the early development of her young child and her hand, to understand it and try to feel that raw creativity. She also investigates the children’s art and craft supplies that litter her home. Tamaribuchi’s work in the past has focused on traditional Japanese patterns and motifs to find a connection to her ancestors. She continues to employ this connection with the study of her daughter’s drawings, to link her hands with the hands of her ancestors.

Porchlit

Porchlit is a project by Yonnas Getahun, Campbell Thibo and Omar Willey. Getahum, Thibo and Willey have uploaded recordings of literature, including poetry, prose, and monologue, spoken every day on a porch for an entire year. Porchlit started on the porch of a historic home in Seattle and has expanded to Richard Hugo House, On the Boards, the steps of City Hall and now Seattle Center Poetry Garden. By inviting others to perform readings from historic and meaningful places, they hope to bridge history, community and literature – old and new.

Image: Poetry Garden, 2007. Glacial Red Granite by artist John Hoge