Form-Space-Light Gallery

The Quick and Easy:

What: “Inspired Geometries”
When: Free-On exhibit through July 20th, by appointment. Closing reception Sunday, July 20th, 2pm-5pm
Where: Form-Space-Light Gallery, 619 N 35th St., Suite 100, Seattle, WA 98103

The Gallery
An ironic contrast of pink wine and rough surfaces captured my attention at once as I entered Form-Space-Light Gallery. Located down a Fremont alley way, the space felt raw. Though its walls are clinically white and struck with bright light, its damp air, exposed pipes and an old rusty heater further support its already industrial propensity. The wood floor creaked as I walked across its worn, paint-splattered planks. I could nearly conjure up the fumes and grind of blade on steel as I was presented with a panoramic view of angular forms and non-descript imagery.

Owner and curator John Parkinson’s study of art and architecture at the University of Nevada, Las Vegas, in conjunction with his career in residential design and construction, paved the way to opening his first gallery in 2006. Since then, he has experimented with a variety of exhibitions, including photography, ceramics and glass, but is now directing solitary focus toward contemporary abstract painting and sculpture. With a nod to Fremont’s artisan roots, Parkinson is embracing its future and providing a valuable addition to this community’s now high-end art scene. “My goal is to make this a destination gallery for collectors,” he said. “I want to make my mark as a contender for serious abstract art.”

Current Exhibition: Inspired Geometries
Currently on display is “Inspired Geometries,” featuring the work of four local artists including Parkinson himself, Joseph Keppler, Mike Sweeney and Julia Hensley. Selected for their unified focus on simple geometric forms within non-objective compositions, each artist’s unique interpretation and demonstration of shape creates a multi-faceted, two and three-dimensional presentation.

John Parkinson’s bold acrylic paintings are whimsical and seemingly void of all real-world reference. The large canvases are divided by flat vertical and horizontal lines of varied thickness. His use of primary and secondary colors is offset by neutral backgrounds and exaggerated shadow. If I hadn’t already been aware of Parkinson’s Las Vegas roots, I would have suspected just that.

Joseph Keppler’s recent sculptures are small in scale and characterized by weathered and subtle veneer finishes. Spatial relationships are strongly emphasized among his assemblage of recycled objects and scrap steel. Keppler’s creations seem nearly functional, but through delicate arrangement, he fosters the use of utilitarian elements for ornamental purpose.

Mike Sweeney’s etched steel sculptures appear to hover on their polished bases. Large-scale and somewhat brutish rectilinear forms are combined to create surprising elegance. The presence of organic rust and coarse edges begs the question of chance. Were these pieces planned or products of happenstance? Within Sweeney’s expertly mastered symmetry and synthesized shape lies the answer.

Julia Hensley’s works on paper are saturated and warped. They dangle from thumb tacks. Simple painted shapes are carefully cut and scattered within and throughout seas of blended color, transforming two-dimensional works into a floor-to-ceiling explosion. To step back is to witness Hensley’s illogical architecture; her own angst-ridden order. Not only does it work, it captivates.

This rich assemblage is thrillingly simple and at home in such a refreshingly pallid environment. I get the sense, and am intrigued by the notion, that this space is dedicated to the artists it represents.