Winston Wächter Fine Art Seattle www.winstonwachter.com
Winston Wächter Fine Art Seattle is honored to be considered for participation in Zona Mexico Arte Contempo Raneo. We have selected a range of artists we feel represents the diversity and innovation of the gallery. We will be presenting sculpture by Dustin Yellin, drawings by Ethan Murrow, a live drawing installation artwork by Ethan Murrow, sculpture and paintings by Annie Morris, paintings by Angelina Nasso, pyrograph drawings by Etsuko Ichikawa and paintings by Scott Patt. *please note the works shown are meant to be a representation of the artist’s work and not the exact selections for the fair
Born in California in 1975 and raised in Colorado, Dustin Yellin is a contemporary artist living in Brooklyn, New York, best-known for his sculptural paintings. Multiple glass layers, each individually embellished, create a unified intricate, threedimensional collage. Yellin’s figures grow from thousands of antique clippings assembled in dense, tangled cellular silhouettes, as if man himself is no more than loose, disconnected images, a knotted form animated by partial truths. His art is notable both for its massive scale and its fantastic, dystopian themes. The work displays Yellin’s surreal romance with the detailed genius of the natural world and humankind’s dubious efforts to improve it. Yellin’s “psychogeography” sculptures have been met with international acclaim. In 2015, Yellin was honored with participation in the New York City Ballet’s Lincoln Center Art Series, installing fifteen life-sized sculptures. The success of this installation led to further exhibition of the figures at The Kennedy Center in Washington, D.C.. In July of 2015 Yellin will install his first outdoor grouping of sculptures on Sunset Boulevard in Los Angeles. Yellin’s work explores the human narrative, and the connection we all have with the natural world. His passion for both art and science have lead to lectures at both the 2014 & 2015 TED conferences. He continues this exploration through his nonprofit, Pioneer Works, in Redhood, Brooklyn, where he hosts simultaneous residencies with artists, musicians and scientists.
Dustin Yellin Psychogeography 74 2015 mixed media 72 x 27 x 15 inches with detail images
Dustin Yellin, Ant Farm, Continue on Next Page (Life Dec ‘59, NatGeo April ’59, Life ‘99), 2015, 19 x 19 inches, with detail
Crushed paper, ephemera, and found objects are manipulated into strata reminiscent of sedimentary compressions. They are archaeological records in the making. These pieces of paper sourced from magazines from the 1950s and atlases from the 1930s, paintings from the 19th century and ads from the 80s, come together to form a sort of anticipatory artifact. Yellin seems to be sculpting in time, sculpting with time, and as much as these time machines transport the viewer into the age from which their elements are sourced, we are simultaneously catapulted into the consciousness of those who will proceed us, contextualizing and questioning the facets of expression and presentation intrinsic to our own contemporary culture. In this way, a gaze into the Ant Farms reflects a picture of ourselves as relics, as remnants.
Ethan Murrow is a dreamer, a storyteller. His scenes are well thought out adventures in his mind, full of character and humanity. What makes Murrow’s artworks more extraordinary is his chosen vehicle to share these stories. Each composition is meticulously detailed, with lifelike precision in graphite or pen. No detail is omitted and there is no room for error. Murrow’s tireless protagonists press on in these worlds with the same care that is taken in creating them. Murrow’s artworks are tributes to mankind’s perseverance, while simultaneously questioning how we view ownership and our relationship to nature. Murrow’s artwork is included in prestigious collections, such as the Guggenheim Foundation, the Cornell Fine Arts Museum, the Bemis Center for Contemporary Arts, the Clay Center for Arts and Sciences, and the Facebook Corporate Collection. In June of 2015 Murrow was honored with a mural commission for the Sandra and Gerald Fineberg Art Wall at the Institute for Contemporary Art Boston. Untitled, 2014, sharpie on wall Variable dimensions - install view at offices of Facebook Boston
Morris’ sculptures are towers shaped from plaster; sand, and painted with raw pigment to resemble a three-dimensional artist’s palate. Inspired by her strength from personal struggles, Morris chooses to focus on the hopefulness and vibrancy of life. The seemingly weightless forms are a metaphor for pure joy and the ability to conquer the impossible. Each layer of her towers teeters over the other, threatening to fall, yet gently supporting each other’s balance. In her Face painting series, Morris again demonstrates her mastery of fluidity and ability to encapsulate the sense of effortlessness in abstract form. Morris builds her canvases by layering planes of figures, creating a greater whole, rather than a group of individuals. Each face is drawn and overdrawn, emerging from the gestural and fluid composition, creating a new layer and sense of connectedness with the viewer. Since completing her degree from École des Beaux-Arts Paris, Morris has exhibited at The Royal Academy, London; Baku MoMA, Azerbaijan and The New Art Gallery, Walsall and Tate Gallery, St Ives.
Annie Morris, Stack 9 (Viridian Green), 2015, mixed media, 95 x variable inches
Etsuko Ichikawa, Trace 0312, 2012, glass pyrograph on paper, 22.5 x 22.5 inches
Etsuko Ichikawa, Trace 10711, 2011, glass pyrograph on paper, 22.5 x 22.5 inches
For her Glass Pyrographs, Ichikawa stands purposefully above the paper, making sweeping, expressive gestures with molten glass on the paper's surface. Her performative technique requires that she work quickly and deliberately to avoid the paper catching fire. Ichikawa's unconventional use of glass allows her to hover in the space between the fleeting moment and the permanent; she moves from the ephemerality of fire and molten glass to the permanence of charcoal. She writes, "What lies in-between the ephemeral and the eternal has been the underlying concept of all my work, and this innovative process using fire allows me to record the immediacy of the moment.�  Etsuko Ichikawa moved to Seattle in 1993 to study glass at Pilchuck Glass School. She worked for Dale Chihuly before becoming a full-time artist in 2003. She has received numerous awards and has exhibited her work in major museums, including the Ueno Royal Museum in Tokyo, Seattle Art Museum, Bellevue Arts Museum, and University of Wyoming Art Museum.
Angelina Nasso's landscape paintings take us on a journey into the realm between realism and abstraction. She is inspired by the natural world, constellations, waterfalls, rock formations, plant life, but her paintings push beyond what w e e n c o u n t e r e v e r y d a y, creating spaces which encompass the energy of all of these elements. Physicist John Wheeler felt, “we are part of a universe that is a work in progress”. Nasso’s paintings visually express this process of expanding into oneself on multiple planes. There is depth and immediacy in her work, which simultaneously pushes the paint forward, while melting away. Her thick layers of paint create stability, while fading into washes. This balancing between elements makes Nasso’s work familiar, yet fresh, lively yet tranquil. There is a fluidity and cohesion to her work that makes each stroke seem part of the next, just as in nature.
Angelina Nasso, Sympathetic Elements, 2015, oil on canvas, 68 x 78 inches
Scott Patt is an artist whose work employs bold graphics, symbols, typography and personal experiences to confront and satirize aspects of the human condition. Patt utilizes the power of the visual and the verbal to simplify, connect and inspire. Influenced by the folk art he encountered in his hometown of Allentown, PA, and the primary colors of post-pop consumerism, Patt’s work explores everyday concepts from luck to love, sexuality to space and hope to happiness. Patt recently completed an epic 2014 painting-a-day project entitled Bigger. Smaller. Funnier. during which he ideated, sketched, painted, commercialized and virtually exhibited (via social media) an original conceptual painting daily. Each painting documents the internal and external ups and downs of our shared everyday experiences of the human condition. The program culminated in 369 paintings, 800+ pages in seven sketchbooks filled with thousands of sketches, stories and ideas, a series of larger works and two sculptures.
Scott Patt Always Greener 2015 Cel-vinyl and matte varnish on wood panel 57 x 40 inches