Featured Objects

  • Graypants Studio
    Cloud
    , 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.

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  • Nancy Megan Corwin, Vase with Nine Hairpins
    Nancy Mēgan Corwin
    Sunset Palm
    , 2015; Mandrake, Conversation, A Dilemma, Precious Few, Bottle 83, Vase with Nine Hairpins, Menorah for Samuel, 1999–2000.

    Copper, brass, zinc, sterling silver, bronze, gold, gold plate
    Mandrake, Precious Few, and Vase with Nine Hairpins (pictured), courtesy of Pam Biallas
    Conversation and A Dilemma courtesy of Tom and Tanya Comerford
    Sunset Palm, Bottle 83, and Menorah for Samuel courtesy of the artist

    Nancy Mēgan Corwin grew up in the country, wandering the woods and along the streams situated around her house. She collected leaves, rocks, sticks, seeds, anything she could find. Her current gardens supply a lot of inspiration by enabling her to examine the structure and growth patterns of plants, the integrated relationships of wildlife dependent on specific plants, and the natural life cycle evident throughout the year. The forms and structures of the vessels in this display and the menorah are based on these collections. The plant forms are a composite of unrelated plant parts, making them unique.

    The vessels are scented oil bottles, with hairpin stoppers. A womanís hair is a powerful expression of her mood, relationship to her society, indicator of culture and is often the core to a sense of confidence and rightness in the world. Corwin cherishes the scents from the flowers in her garden and wanted to create a connection between that aspect of the natural world and the woman who would own the bottles and in using the hairpin, subtly scent her hair. The hairpin then becomes more than decoration, it becomes the source of a mysterious presence and subtle communication.

    Corwin's father grew up in an Orthodox Jewish family and although he moved away from the dogmatic aspects of his religion, he still participated with his family in Jewish holiday celebrations. She remembers how important it was for him to light the Hannukah candles and to recite a few words in Hebrew. He loved her son dearly. She made this menorah, which she calls Menorah for Samuel as a both an object imbued with memories of her father, and as a connection between a grandfather and his grandson, Sam.

  • Sylwia Tur, Oscillations
    Sylwia Tur
    Oscillations,
    2011

    Porcelain and powder-coated aluminum
    Courtesy of the artist and Linda Hodges Gallery

    Oscillations allude to the physical representation of a speech signal or waveform that is composed of repetitive variations of a line moving through a central point. The eponymous work seen here stems from an interest in systems and processes and represents an interpretation of the patterns and rules that govern language.

    Tur was born and raised in Poland. She received her MA and BA in Linguistics from the University of Washington in Seattle, followed by post-baccalaureate studies in studio art and ceramics, also from UW. Turís work has been exhibited nationally as well as at Linda Hodges Gallery, Monarch Contemporary Gallery, Bellevue Arts Museum, PNW Gallery, and at the UW Ceramics Gallery. She is a recipient of the Artist Trust GAP Grant, the Regional Exhibition Award from the National Council of Education for the Ceramic Arts (NCECA), and Individual Artist Grant from 4Culture. Her artwork is in private and public collections in Australia, France, Poland, and the United States.

    In addition to her art practice, she works as a linguist, a field from which she continues to draw much of her inspiration.

  • Aaron Haba
    Aaron Haba
    Sanctuary,
    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
    Solace,
    2010

    Cedar
    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 Ė 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

    Bronze

    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
    Miach
    , 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.