Featured Objects

  • Graypants Studio
    , 2015

    Ping-pong balls, zip ties, aluminum, wood, florescent light elements
    In conjunction with The New Frontier: Young Designer-Makers in the Pacific Northwest

    Cloud is a lighting installation created for Bellevue Arts Museum in conjunction with the exhibition The New Frontier: Young Designer-Makers in the Pacific Northwest, which features the work of nearly 30 design studios located in the coastal region stretching from Vancouver, BC, to Oregon's southern border.

    Cloud consists of a sculpted metal armature covered by around 40,000 ping-pong balls, each attached to the frame by hand. Illuminated from within, the sculpture hovers over the Museum's main entrance. With its organic form and undulating texture, Cloud inspires wonder and nostalgia, evoking the aimless, imaginative meanderings of childhood, forgotten in our fast-paced world. Viewers are encouraged to stop, gaze upward, and lose themselves in locating and identifying the shifting forms of animals, trains, faces, and shapes.

    Graypants is a team of problem-solvers who create objects that bridge the gap between art and design. With studios in Seattle and Amsterdam, Graypants boasts a broad design repertoire encompassing architecture as well as lighting. The studio's work can be seen in public and private spaces around the world. More examples of Graypants' work can be found in the exhibition, located in BAM's third-floor gallery.


  • Ann Weber, Almost
    Brenda Mallory
    Bloom Variation
    , 2006–15

    Waxed cloth, nuts and bolts, welded steel
    Courtesy of Patricia Rovzar Gallery, Seattle

    Brenda Mallory (Cherokee Nation) grew up in Oklahoma and currently lives and works in Portland, Oregon. Trained in fine arts, she works in textiles and mixed media to create textural forms that make use of repeated motifs and shapes. Mallory has been merging encaustic and fiber techniques for over 15 years and has shown her work extensively throughout the US. Her versatility extends beyond her medium to the scale in which she works, and spans the scope of wall-mounted sculpture as well as large-scale, site-specific installation.

    Bloom Variation is a modular wall installation featuring Mallory's unique wax-treated cloth sculpture. Informed by her grandfather, a beekeeper, the artist constructs wall and installation pieces representing organic systems and cell structures built from repeating sculptural motifs in her signature materials of wax and textiles. Bloom Variation, comprising soft organic forms mounted on a honeycomb steel armature, explores the transience of the built world in relation to the perseverance of nature.

    With the principle of mass conservation in mind ("Nothing is lost, nothing is created, everything is transformed"), Mallory constrained herself to materials available in her studio to develop a number of works, including Bloom Variation. In Mallory's words, "If I cut apart a piece of fabric I had to form something else with what remained, but what I did to the shapes was not restricted in any other way—they were variously burned, waxed, sewn, bolted, rolled, stretched, crushed and combined with other materials."

  • Aaron Haba
    Aaron Haba
    , 2015

    Sisal, gesso, gypsum, silk, wire mesh, fasteners
    Courtesy of the artist

    Born in New Jersey in 1967, Aaron Haba has made his home in the Pacific Northwest since 2003. Working in a poetic array of raw natural materials such as sisal, rope, wood, silk, and living plants, his sculpture embodies integrations of architectural and archetypal forms that hark to the ideals of Modernism. Haba's virtuosity resides his ability to realize his ideas on an ambitious scale that contrasts with the simplicity of means invested in their execution.

    Haba is the recipient of a GAP grant from Artist Trust and recently has been awarded a Fellowship Residency at the Millay Colony in upstate NY for the month of November 2015. His work has been seen in galleries, museums, and site-specific—often environmental—installations throughout the Northwest, as well as in New York.

    Sanctuary was commissioned from Haba by Bellevue Arts Museum as one of a series of installations by local and national artists to be featured in the grand space of the Forum.

  • Ann Weber, Almost
    Aaron Haba
    , 2010

    Courtesy of the artist

  • Christian Burchard, Fragments #9
    Christian Burchard
    Fragments #9
    , 2005

    Pacific madrone, bleached, sandblasted
    Courtesy of the artist

    "Fragments #9 exploits the multiples concept with intriguing results. Assembling thin slices of warped madrone timber into a grid like composition, Burchard creates works of variety and visual character. The language of the wood, including knots, color grain, texture, warped surface and contour, along with the relationship of individual pieces to each other and to the whole, offer a provocative visual experience." -- Mark Richard Leach

  • Etsuko Ichikawa, Traces of the Molten State
    Etsuko Ichikawa
    Traces of the Molten State
    , 2008

    Glass pyrograph
    25.6 x 51 feet each
    Courtesy of the artist

    The Seattle-based artist is known for her "glass pyrographs," ethereal drawings made by literally painting with the fire and smoke emitted from hot molten glass. Her pyrographs are just one way in which Ichikawa captures fleeting moments both in the physical and emotional world. The light and airy Museum Forum features three large-scale pyrography scrolls made specifically for BAM as part of her first museum solo exhibition.

  • Peter Pierobon, Chair Stack
    Peter Pierobon
    Chair Stack


    Peter Pierobon is a sculptor inspired by the natural beauty of the Pacific Northwest and the art of the Inuit, African, Northwest Coast Indians and the Aboriginal Australian cultures. His goal is to create objects that are delightfully functional and at the same time sculptural in focus. The chair literally mimics the human form as it offers support to the human body. The chair also departs from this function through exaggeration (four legs) as it engages it metaphorically.

  • Julie Speidel, Miach
    Julie Speidel
    , 2004

    Sandstone and bronze
    84 x 16 x 16 inches

    Miach was inspired by Speidel's visit to the Avebury Stone Circle in Wiltshire, England. The Avebury Circle is the largest stone circle in Britain, dating back to 2,500 BC and cloaked with mysteries that archaeologists have only begun to unravel.

    The length of time for the main continuity of use of the Avebury complex throughout the Neolithic and Early Bronze Age was, according to present dating studies, around 2,300 years. This lengthy span of time and the vast size of the whole complex give testimony to the fact that the Avebury temple was perhaps the most significant sacred site in all of Britain, if not the entire continent of Europe. Miach, made of sandstone and bronze, represents the power and life inherent in the stones of Avebury.