This month Blackfish Gallery is proud to be featuring a group exhibition of very talented local artists:

Jed Blinkly, David Brandt, Lisa Brinkman, Rose Covert, Johnathan Dukehardt, Tia Factor, Hsin-Yi Huang, Anna Kaufman, Heidi Keith, Nancy Larson, Marie Lo, Trifon Markov, Elena Markova, Carlos Molina, Mona Monroe, Rory ONeal, Miguel Rodriquez , Elaine Schimek, Susan Schenck ,Mary Scriven, Egor Shokoladov, Rosa Silver, Jerry Svoboda, The Reprintery (Charlotte Flory & Michelle Freedman), Beth Wilson, and KL Wollons. 

To view their works on display, PLEASE CLICK.

A figurative painter immersed in the absurdist stories she invents, Paula Bullwinke takes viewers on narrative journeys inspired by her own experiences. In Bullwinkel’s latest series, women, children, and animals are infused with a pervasive sense of mystery, where unknown events and relationships are suggested, and curious dynamics evade the mundane. Bullwinkel has exhibited widely, including in New York, Los Angeles, Oakland, Switzerland, and Portland. Born in Northern California, she spent her childhood making miniature clay animals and figures in her mother's ceramic studio, reading classic fairytales, and playing for hours in the woods with imaginary characters. The wild and playful presence of these companions infuse Bullwinkel’s work, and invite viewers to step into her world.

At its core, Libby Wadsworth’s work explores intersections between visual and verbal language systems. Wadsworth asks us to examine how these systems of representation shape and frame our perceptions and understandings.

For her first exhibition at Blackfish Gallery, Wadsworth combines photography with letterpress printed texts, in works that focus on intimate, often overlooked encounters between natural and built environments. Reflecting urgent questions about the costs of human impact, Wadsworth considers implications on the agency and instrumentality of the natural world.

In her new exhibition, Peregrinations, Carol Benson transforms her characteristically playful abstractions into disquieting explorations of cultural dissonance.

Telegraphing feelings of physical and spiritual dissociation, Benson engages with political turmoil in large format compositions of stark grayscale. Drawing on her previous pandemic work, Benson expresses a deep uncertainty as emergent shapes form and dissolve in a static of information. As we follow Benson on her wanderings, Peregrinations’ aesthetic speaks the language of interlocking collapse.