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Also on view:
Matt Sellars, Displacement, solo exhibition, Vachon Gallery, Seattle University, Seattle, WA, through February 11.

January 7 to February 13, 2016

The rider paused at the ridge overlooking the valley through which he had just traveled. He was overcome by a feeling that he couldn’t quite place: a sense of belonging, of joy, of melancholy.

Though he had no reason to believe it true, he sensed the presence of those he knew, having passed onward up this very trail. The light was fading and shadows pushed out spaces of definition, filling them with deep greens and purples. The distant songs of mourning doves and poorwills added to his suspicion that this place was a part of him, a part of those he loved.

The rider lived in this moment for a space of time, and as he turned his horse to go, he spoke out loud to no one but himself, that he would return someday.

“To define something can rob that thing of what sets it apart. At least this can be true of things we feel, knowing that they are special. When we inhabit a space, we align the objects in that space according to our needs and how that arrangement might best optimize the space itself. Through the process of a number of practical decisions, something else happens: the house becomes a home. It becomes imbued with the essence of who we are. I use this as an example, but it applies to other areas of our existence. An art object might bear a striking resemblance to a utilitarian object, but the art object stands to give off a certain energy. Fingerprints may exist on the surface, a chisel may have passed quickly over a surface leaving the impression that the artist was moving both fast yet intentionally. Or a landscape, during a certain hour, bathed in the right light might have an otherness to it. One might stand in a sacred building and sense the energy of the hands that placed every stone, adobe brick or timber.”

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