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Recently the gallery that has represented me in the Pacific Northwest, Davidson Galleries, announced that they were phasing out their department of Contemporary Painting and Sculpture. I have been a member of their stable of artists for the better part of three decades. My first exhibition there was in 1989, and was a near sellout show. Over the course of many years, Davidson Galleries has placed my work in many important public and private collections. I will always be grateful to Sam Davidson for his efforts on my behalf.
When I first moved to Seattle, Davidson Galleries exhibited and dealt only fine art prints, both antique and contemporary. At that time they were located on Yesler Street, sandwiched between Manolides Gallery and the bookstore that was owned by Sam’s future wife, Elizabeth Donnelly. His associate director at the time was Kate Joyce, and it was her idea that he move to a larger venue and branch out into contemporary painting and sculpture. They soon moved to the current 313 Occidental Avenue South location. I was showing at Foster White Gallery at the time, but had a great deal of respect for Sam as an art dealer. I encouraged a friend of mine to apply there, and he was accepted and began to exhibit. Personnel changes at Foster White forced me to follow suit, and I applied for representation in 1987. Sam was agreeable, and almost immediately began selling work.
We scheduled my first show, and I began producing the work for it. One piece was a large, late evening urban landscape of Elliott Bay Book Company, and we persuaded its owner, Walter Carr, to publish a poster for the show. As the opening date neared I negotiated with some Jazz musician friends to play at the opening. These included John Bishop on drums, Chuck Deardorf on bass and Dave Peterson on guitar (a later lineup included Hans Teuber on sax.) These were some of the leading lights of the Seattle Jazz scene. The opening was packed, and really exposed a hunger for representational work within the audience for contemporary art in Seattle. As mentioned before, the work sold very well, and many works found a place in the homes of several important Pacific Northwest collectors. (more…)
“Portrait of Alvaro Izurieta: My Friend and Colleague”, oil on canvas, 20 x 16 inches, copyright ©2014
When I visited Buenos Aires in 2008, I was fortunate to have met a very prominent Argentine painter, Alvaro Izurieta. He was opening a show at a gallery, Clasico y Moderno Espacio de Arte, near Plaza Guemes, where I had been painting. Alvaro did not speak English, and my Spanish was very limited, but we were able to communicate through his beautiful daughter Adela, who spoke English fluently. We’ve kept in touch over the years since my visit, and I was able to introduce Alvaro to my art dealer in Seattle, which exhibited some of his drawings in an exhibition a few years ago. More recently Alvaro suggested that we exchange portraits. I was very excited about this prospect, enthralled with the idea that my portrait would be painted by the great artist that had produced such a fine portrait of the Argentine writer Juan José Sebreli. Alvaro’s portrait of me was excellent, and very insightful. My own portrait of Alvaro is intended as a tribute to a serious painter, one who has produced an expansive and meaningful body of work over the years.
Alvaro Izurieta was a protegé of the sculptor Antonio Pujia, considered one of the greatest living artists in Argentina. Their work toured together recently in Argentina, and they share an eclectic approach to the production of art that is quite different than what we have come to expect of artists in the United States. These South American artists freely adopt and reinterpret diverse styles in their work, from a kind of Classical Realism to an early Modernist experimentation. In Pujia’s case you can see influences of Minimalism and Surrealism. In every instance, expression is the objective. They respect and reinterpret the language of modernism, but also explore traditional figurative modes if necessary. In doing so they turn the dominant narrative of the last century on its ear. It’s impossible to describe how refreshing this is.
Here is the portrait that Alvaro did of me. He also did a second much larger portrait which I may post later.
My Friend Bill, oil on canvas board, 16 x 12 inches, copyright ©2013
House On Hunt’s Point, oil on canvas, 48 x 64 inches, copyright ©2013
This is a commission for a large painting of a house that was located on Hunt’s Point in Bellevue WA. The client wanted a painting of the house in situ, before the structure was cut in half and barged up Puget Sound to another property in the San Juan Islands. This beautiful old house was built in 1921, but had been expanded by several additions over the years.