press release

Press Contact: Christina DePaolo, (206) 263-1588

May at 4Culture Galleries


Katie Miller
May 4th – May 25th, 2017
Opening: Thursday, May 4, 6-8 pm

Katie Miller’s Palimpsest explores Seattle’s rapidly changing urban landscape, capturing the underlying tension between the permanence and ephemerality of the built environment and our shifting sense of place.

As the urban core develops, buildings rise in areas that were once open and spacious. Neighborhoods are littered with construction sites, exposing architectural frameworks and superstructures. Miller distills the abstract linear forms revealed through the building process into flat planes as paper cut-outs. Her imagery—depicted as void and layered or segmented and then reanimated with light and shadow—expresses the temporality of our surroundings and memories of how things were.

Katie Miller was born and raised in the backwoods of Northeastern Minnesota, but is now deeply rooted in the Pacific Northwest. As an interdisciplinary artist, she creates immersive installations often with a participatory element. Light plays a central role in her work – its temporal quality relating to both perception and place. Miller received a BFA from the University of Washington in Seattle and a MFA from the Tyler School of Art at Temple University in Philadelphia.

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Palimpsest provides a space for visceral engagement through the lens of the architectural silhouette, challenging viewers to consider their own experience in the altered urban landscape..— Katie Miller


New Works by Andy Behrle, Blake Marques Carrington, and Elizabeth Withstandley

Andy Behrle

ebb & flow

Multiple video files capturing the textures and colors or water in nature at various locations throughout Washington are layered to become a single composition. As in nature, these microcosms combine to create a beautifully interdependent system. The footage used was collected at Neah Bay, 8mile Creek (North Cascades), Edmonds Bay, Puget Sound, Grand Coulee, Irrigation Canals (Yakima County), Hanford Reach (Columbia River near Tri-Cities), and Lake Crescent.

Without the ocean, there is no rain. Without rain, there are no streams. Without streams, there are no rivers. Without rivers, there would be no lakes and inland rain water could not return to the ocean.

Born and raised outside of Boston, Massachusetts, Behrle holds a BA in Philosophy and Religion and Studio Art from Elmira College, N.Y and an MFA in Sculpture from Arizona State University. Water and light have been important materials in Behrle’s large scale time-based artworks since the early 2000’s. Since relocating to Washington’s Yakima Valley in 2012, he has been capturing and re-contextualizing digital video footage of the region’s waterways to create immersive installations and dynamic displays.

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Blake Marques Carrington

The Year We Make Contact

The Year We Make Contact is a silent video generated from sound — an audio recording of a psychoanalysis session between the artist and a therapist. Inspiration comes from a 40-year debate active in theoretical physics called the Information Loss Paradox, where scientists argue over whether information can truly be lost if it falls into a black hole. The work is part of a larger theme over the last several years called Speculative Forensics, which focuses on the discarding of information inherent to translation and transcoding, and the hidden manifold of data always out of our reach.

The work is created with a custom software system that allows the artist to draw and manipulate digital audio waveforms. For this version made especially for the 4-channel site at e4c, the imagery is scaled at four distinct resolutions. These four scales emphasize the spectrum from discrete information unit (starting at the screen furthest to the right), to the quasi-representational image (ending at the screen furthest to the left) that emerges from those basic units. The ever-shifting flow of images are not shot, made or captured; they coalesce and evolve within the invented system.

Blake Marques Carrington works within the spheres of the visual, sound and performing arts. As a sound artist he writes and performs original audiovisual compositions and is soon to release his third full-length album titled “A Weak Force That Binds”. Parallel to his work in the ambient/electronic music context, he has had solo visual art exhibitions at VisArts Rockville, Contemporary Art Center New Orleans, Philadelphia Photo Arts Center, and Central Utah Art Center, featuring a range of work from inkjet painting to video installation using custom software systems, all in dialogue with sound in a more conceptual way.

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Elizabeth Withstandley

You Can Not Be Replaced

You Can Not Be Replaced is a multi-channel video installation featuring images of all 82 current and former members of the Dallas choral symphonic rock band, The Polyphonic Spree. The video is accompanied by an audio track that combines ambient cosmic recordings, spoken word and partial renditions of The Polyphonic Spree song It’s the Sun performed by former band members Andrew Tinker and Corn Mo.

The band itself was formed in 2000 and over the years people have come in and out of the band, some calling it almost a rite of passage in the Dallas music scene. In the piece, the band members are represented in their signature stage-ware of a white robe, giving them a cult-like appearance. Although the musicians have each brought something unique to this band, the sheer number of them forces one to ask the question, who are they? Are they memorable? Unique? Individual? The series recognizes and questions the notion of one’s individual importance as it cycles through a soundtrack leaving one wondering whether they are replaceable.

About the Artist: Elizabeth Withstandley is from Cape Cod, Mass. She lives and works in Los Angeles, Calif. She is one of the co-founders of Locust Projects in Miami, Fla. Selected recent exhibitions include From Far Away Across The Universe, Torrance Art Museum, Torrance, Calif, The Accident, Winslow Garage, Los Angeles, Calif. She has also shown work at Dimensions Variable, the Museum of Contemporary Art, North Miami, The Moore Space, Miami, Fredric Snitzer, Miami, The Ringling Museum of Art, Sarasota, The Tel Aviv Artists’ Studios, Israel, The Bass Museum, Miami, Cultural Center, Sao Paolo Brazil. Her work has been featured in Art Papers, The Miami Herald, and The New Times.

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