Perhaps more so than the general populace, artists are able to find beauty and inspiration in the chaos of entropy. Gala Bent is a Seattle artist who uses gouache and graphite to explore the gracefully inevitable failure of enforced order. Bent's compositions play with the tension between clearly delineated geometric abstraction and sinuously free form pattern fields. Her visual images are so direct that it's possible to read them on a visceral level while entirely missing the wellspring of references that rest beneath the surface of her meticulously rendered drawings. But it would be doing Bent an enormous injustice to not look deeper.
There is a deceptive simplicity to Bent's drawings, and at first glance, their sense of whimsy overshadows their underbelly of methodical research. Bent thinks very deliberately about her place in the world, and this sense of inquiry carries over in a very literal way to the precision of her compositions. "I like things that I respond to in a physical, aesthetic way," she explains to me. "But as a person, I just really love to dig and dig and dig... I like it when there's a whole series of layers underneath." After a brief miscommunication over directions that leads to a rather informative exploratory bicycle mission of the alleyways around Qwest Field, we meet in the high-ceilinged Pioneer Square studio that Bent shares with her husband, fellow artist Zack Bent. Bent and her husband create in different mediums, but she explains that they work together in that they are one another's biggest critic and advocate, and that their strengths and weaknesses are staggered in complimentary ways. The artist couple has three young sons, so their lives involve a great deal of juggling between creative and family lives. Their paintings and sculptures stand in easy dialogue on separate ends of the room. "We are both concerned with the architectural," she tells me, gesturing towards the stacks of life-sized Lincoln Logs that rest on Zack's side of the studio. Bent's compositions tend to focus on the interplay between angular and organic forms. Her drawings at times resemble tornadoes – densely clustered masses of line and plane that gradually open into light colored washes or entirely empty space. "I very much idealize geometric abstraction," Bent tells me, adding that her appreciation of the geometric has deepened over the years until she has come to see it as almost "a romantic ideal." She sees the "furry" portions of her works as representing the more human, realistic side of life, the "faltering part... where everything cracks or falls apart." Bent describes this idea in greater detail on her blog, writing that she is "fascinated by the idealistic glory of the philosophy of architecture, especially when it is brought into real space and has to sustain itself against the degrading process of time and use. The most fancy buildings still leak and peel. People still have to deposit their raw sewage inside them, and weather delivers continual erosion to their shells." ARTICLE CONTINUED BELOW (ABOVE) I Am Focusing All My Attention, 2010; (BELOW) I Am Focusing All My Attention Detail, 2010 - G. Gibson Gallery Paper Architecture: Reflecting Pool (I Smell Like Myself), 2011 - G. Gibson Gallery

Like many other Seattle residents, I was first introduced to the work of fabric and mixed media artist Mandy Greer at the central branch of the Seattle Public Library. I remember liking her permanent installation, Library Unbound, and making a mental note to check out more of her stuff (which, of course, I completely forgot to do because I didn't write it down), but it wasn't until Greer's 2011 solo show, Honey And Lightening, at Roq La Rue Gallery, that I was moved from appreciation to awe.


mandy greer Honey And Lightening, 2011. Roq La Rue Gallery, Seattle
Artists often describe their ideas as beginning with a seed, but with Greer the analogy is more literal: her work gives the impression of growth, and her compositions wind sinuously across both body and landscape as fractalized coral reefs that gracefully devour everything they come in contact with. Her painstaking craftsmanship involves the weaving and layering of such diverse materials as buttons, pom poms, sequins, beads, plastic trinkets, glitter, mirrors, and family members' hair. She uses "cheap materials" in such absurdly detailed, utterly chaotic excess that they they take on an aura of luminous richness. Her latest subjects involve strong, folkloric figures festooned in elaborate headdresses. They move gracefully through kaleidoscope forests and fields of trailing grass. One gets the sense of being enveloped by an epic fairy tale, but it's one that lacks a definitive plot. Greer draws from a wide spectrum of folk tales, finding inspiration in stories from Greek, Roman and Chinese cultures. "I stumble upon mythology that speaks to the struggle," she explains. There is an inherent delicacy in textile work – one that Greer both embraces and contradicts. In her works, haunting vignettes of half-told stories are littered with crocheted entrails and vines of thick, cloying mud that evoke a sense of elegant foreboding. They deal with a sense of vague narrative that, through abstraction, finds archetype; her installations whisper of timelessness – of a buried, invisible power that runs below the surface of the world that we cavalierly inhabit. At the time of our interview, Greer was still in the process of settling into her home studio, and walking into her workspace was like entering the magical dress up box every child dreams of having. Her studio is filled with giant, color-sorted plastic bins of fascinatingly patterned and textured scraps of fabric. Half of her studio is devoted to an exposed beamed staging ground for installations, and there are so many odds and ends lying around that, for someone with an attention span as short as mine, it's difficult to find a place for the eye to rest. INTERVIEW CONTINUES BELOW mandy greermandy greerHoney And Lightening, 2011. Roq La Rue Gallery, Seattle

Converge frontman Jacob Bannon --just-- released a series of limited edition prints in his shop. Among these is a piece of art he did for Trap Them's Seizures In Barren Praise album. xxx I've chosen my favorite color combination from five available silkscreen prints. These are a...

Justin Kane Elder has only recently emerged onto the Seattle art scene, but he's already commanding our attention. Trained as a finish carpenter1 and hailing from a family peppered with luthiers2 and tradesman, Elder is comfortable moving fluidly across the often contentious boundary of art and craft. Elder's work demands a carpenter's keen attention to angle and detail, coupled with a painter's sense of fluid composition. Elder creates large-scale spray paint portraits by applying numerous layers of precisely stenciled abstract shapes, and his dynamic overlays create a constantly radiating sense of movement. His current portrait subjects are his friends or pop culture icons, and he manages to create crisp, defined compositions without employing any actual linework.
justin kane elder I headed over to Justin's house for an interview and spent the duration of our conversation kept constant company by Raleigh, his adorably hyperactive Boston Terrier. Elder's house immediately gives the comfortable impression of being inhabited by creative people who are very good at what they do but don't feel a need to overtly broadcast it. Elder's girlfriend is a designer, and between the two of them, the house is full of strange, enticingly colorful objects. Elder's studio is set up in his basement, and his workspace is indicative of his artistic priorities: his table saw is front and center, and his spray cans are arranged on a hand-built table that captures the precision of someone who is used to working in measurements of a 32nd of an inch. A large basement wall serves as scratch paper. "It's my sketchbook!" Elder says, laughing.

Herein lies the works of London-based artist Katie Brookes, who creates gently-crafted works of intense subject matter! First and foremost, a fair warning: the thin lines of her imagery seem better-suited for an etching on a copper plate, to be studied in real life, than...

These hypothetical structures are a combination of M.C. Escher, Mayan temples, labryinths, and 3-dimensional city maps; they're a veritable Where's Waldo of trip-outs for the eyeballs. Here's what artist John Borowicz had to say about the series: "...