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“An exhibition is a temporary realization of something that we want to be perceived on a level beyond what
is visible.” [1]
There is a gentleman dressed in his mother’s sari sitting among us. […]
Hemali Bhuta, 10/09/21, 6.33 PM, Indigo on paper, 20 x 25 cm, 2022
![[Anne Couillaud] Vantablack - Galerie Jocelyn Wolf - artpress_oct._2017.png](https://images.squarespace-cdn.com/content/v1/561467cce4b094b629357b28/1571090728662-TTBV4X19DWTTTDHCAO7D/%5BAnne+Couillaud%5D+Vantablack+-+Galerie+Jocelyn+Wolf+-+artpress_oct._2017.png)
Ayana V. Jackson.
Sarah Forbes, 2016.
ink-jet print.
51 x 30".
Courtesy of the artist and Mariane Ibrahim gallery.
Jennifer West.
Film Is Dead . . . 2016.
Installation view.
16-mm, 35-mm, and 70-mm filmstrips, dye, ink, food coloring, spray paint, nail polish, salt, mud, HD video, color, silent, 58 minutes.
Courtesy of the artist and Seattle Art Museum
Oyster Naturel.
Installation view with works by Eli Hansen and Anne Fenton.
Veronica, Seattle.
Upon entering the exhibition oysters naturel at Veronica, - a new artist run space in Seattle founded by Michael Van Horn, Elizabeth Abrahamson and Sol Hashemi -, one come across Anne Fenton’s frail mother of pearl-ish quasi-sphere made of two parts that simultaneously - and brightly- calls the container and the contained. The sculpture bears some secrecy too, being made of gum paste, monkshood and several other plants and homeopathic remedies, that remain imperceptible. Imperceptible too is the sculpture made of ice and botanical material by Jueqian (Ripple) Fang that melted on a hot Seattle evening August 12th.
There is an organic yet rigorous fluidity in this show. References to the oyster as shell, closed space, texture, food, a certain quality of light - as pointed in a text that accompanies the show- are abundant in the exhibition: It is the flabby looking, solid casted plaster gem like sculptures by Francesca Lohmann, it is Jason Hirata’s appealing menu posted on the space’s window, certainly confusing the passerby, or Matt Browning’s hand woven dark gray - though subtly colorful when you get closer- fabric folded in an almost square, or Elias Hansen’s green lighted assemblage made of blown and cold formed glass and metal sticks and objects on shelves.
But oysters naturel, a redundant title, seemingly perfect for a Seattle summer exhibition -oysters abound in the region and have been consumed for centuries -, also evokes Shakespeare’s verse “Why then the world's mine oyster” - The Merry Wives of Windsors -.The space itself works as a container for this group of Pacific Northwest artists, letting perspire the affinities between them, the dialogues, their world, natural and/or naturel, that is to say, unadulterated and unaffected.
Anne Couillaud
Markus Hansen.
Other People's Feelings are also my Own. 2004 -2015.
Video still. Courtesy of the artist.
Noah Davis.
Untitled. 2014.
Mixed media on paper.
8 x 5''.
From the series “Seventy Works,” 2014.
Courtesy of the Frye Museum
Franz Erhard Walther.
Installation view. 2015.
Courtesy of the Henry Art gallery. Seattle
Eugène Leroy.
Untitled. 1994.
Oil on canvas.
Courtesy Michael Werner Gallery, New York and London
Dawn Clements and Marc Leuthold.
Table of Work: a Collaboration (Dawn Clements and Marc Leuthold). 2011.
Mixed media.
Courtesy of Pierogi Gallery.
Daniel Turner.
Mariana (installation view). 2011.
Courtesy of The Journal Gallery, Brooklyn
Tania Mouraud.
Sightseeing. 2002.
(Video still).
Courtesy of the artist and Cueto Project, NY
Helen Beckman.
Burning. 2010.
Oil on panel.
Courtesy of the artist and Newman Popiashvili Gallery, NY
Kakyoung Lee.
Walk-2009. 2009.
Still from Moving Image (Graphite on Paper).
Courtesy of the Artist and The Drawing Center.