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soilart

@soilart

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Artists supporting artists since 1995
Gallery hours: Friday-Sunday 12-5pm
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CMPST Sloat/Taulu/Graydon Nov 5-28 Opening Reception, Nov 5, 2026, 5-8pm 112 3rd Ave S, Seattle The three artists in this exhibition have roots in locations defined by relationships of geo-political power: Taiwan, Finland, and Hawaii. Each setting is often defined by colonial and post-colonial frictions between individuals and the systems which marginalize, erase, and control their voices. In a time of great uncertainty, such as the present, these frictions become manifest in even wider arenas. Ben Sloat and Anssi Taulu have been making work as the collaborative, Blasto. This project is a collaboration, but also an accumulation - they have gathered materials and imagery in North America, Asia, Scandinavia, North Africa, the Baltics, and Western Europe to add to their living, changing, sculptural works that absorb history and express the tensions of our present. Andy Graydon is an artist and filmmaker originally from Maui, Hawai’i. Recent projects have focused on island ecologies and the imagination and narrative forms employed by the natural sciences. Often ephemeral in nature, Graydon’s work combines minimal physical materials with elements that are absent, fictional, or imaginary.
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HOT HEAD, on view until 10/31. Yes, it’s hot (248°F) so don’t touch it! volume on to hear the ~sizzle~
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a nervous lil Heart Flutter. Maladies, open through 10/31 at @soilart
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Today is the last day of 𝘐𝘯𝘵𝘦𝘳𝘤𝘩𝘢𝘯𝘨𝘦, my solo show in the backspace of Soil. What generous conversations and documentation I received of this show from my community, and people. I have been working on my art nonstop since the beginning of the year. It’s been extremely challenging and taxing and rewarding. A massive thank you to everyone who came by my side to support me in many ways as I worked on this massive body of work. First 12 slides by @ryanwarnerphotography The last few are just a few snapshots of important visitors ❤️ and one behind the scenes. Wish I had documentation of me getting the staircase up…by myself 💀🪜🪜 It’s time for me to pivot to working on writing for a project that’s a long-time coming. And job seeking…would love to teach more at this time as I am loving this after school program I have been teaching for elementary schoolers…but perhaps there is a opportunity to engage with some more matured minds? Looking forward to what’s next.
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My silly little show about how weird it is to have a body opens next week. Here’s a little sneak peak. Come hangout.
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TONIGHT! —-> @ 6:30, conversation with @oldleatherutilitybelt on current exhibits @soilart Thank you for making this happen @zoejpotter 🖤 I’m gonna be playing some choice music after the conversation from 7:30 to 9 ⚡️ would love to see you 💋 Thank you @ryanwarnerphotography for these stellar shots 📸
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Field Note / #ART 03 — Exhibition Notes At SOIL, Julia Monté’s “Interchange” changed the way I looked at familiar urban forms through material and scale. Stairs and overpasses were scaled to roughly the size of the human body, so things that usually fade into the background of a city suddenly became objects I could really look at. It also made me think that this way of seeing might feel more familiar to someone trained in architecture, where buildings and infrastructure are constantly translated into models, drawings, and different scales. From a distance, they seemed heavy and solid, almost like concrete. Up close, they were made of Styrofoam covered in papier-mâché—and were actually very light. That difference between looking heavy and being light changed the work for me. It made me think about how even the structures that seem most fixed and permanent are still things that were built and are kept in place. At The Vestibule’s “Threaded by Language,” I thought back to my first ART note on “Proximities” at SeMA. In “I Felt It” and “Dictionary,” tangled and broken thread, along with cut fragments of language, showed what words could not fully express. Here, weaving seemed to move in the other direction. Paper and thread were cut, crossed, layered, and woven back together—not to return to some original form, but to connect things that had already shifted and changed. Claire Renaut’s work stayed with me in particular. Language moved from printed text into woven surfaces, and also made me think of sound and frequency. The same language can feel different depending on the medium it passes through. A_(x)_B — when x changes, the relationship between A and B changes. In “Interchange,” learning that the concrete-like forms were actually made of light Styrofoam and papier-mâché changed how I read them. In “Threaded by Language,” seeing language move from printed text into woven surfaces—and connect to sound and frequency—changed how I experienced it. My first ART note was about what language cannot fully express; this time, I was more interested in how meaning changes when the form or material carrying it changes. FORM_(MATERIAL)_MEANING LANGUAGE_(MEDIUM)_MEANING
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Field Note / #SPACE 05 — “SPACE_(TIME)_CITY” (📌English version in the pinned comment. This time, t ranslated from the original Korean with ChatGPT.) 오늘 시애틀의 작은 미술공간 두 곳을 방문했다. 비슷한 규모의 화이트큐브이고, SOIL은 ‘작가 운영’, The Vestibule은 ‘작가 중심’을 내세운다는 점에서도 닮았다. 하지만 실제 방문 후 두 공간에 대한 인상은 꽤 달라졌다. 주거지와 작은 상점 및 식당이 섞인 시애틀 북서쪽 Ballard의 The Vestibule은 전시와 공간, 응대 방식까지 차분하고 정돈되어 있었고 작품마다 가격도 명확했다. 작가와 전시를 만들고 판매를 지원하며 Seattle Art Fair나 New York Future Fair퓨처 페어에도 참여한다. 반면 다운타운의 오래된 갤러리 지구 Pioneer Square에 있는 SOIL은 훨씬 젊고 실험적으로 느껴졌다. 내 질문에 한참 설명해준 자원봉사자는 학생이었고, 실제 운영도 작가들이 전시 선정부터 공간을 지키는 일까지 나눠 맡는 협동조합 방식이다. 가는 길에는 텅텅 빈 상가가 이어지고 거리 분위기도 다소 거칠어서 조금 긴장되기도 했다. 그런데 SOIL 자원봉사자가 건내준 30주년 기념 책자를 읽어보고 리서치를 좀 더 해보니 이 공간의 역사가 정말 흥미로웠다. 1995년 시작해 몇 차례 이사한 SOIL은 2004년 지금의 Tashiro Kaplan 빌딩에 자리 잡았다. 1990년대 부동산 시장이 변하면서 Pioneer Square에서 예술가들이 공간을 유지하기 어려워지자, 비영리기관 Artspace가 지역 단체와 함께 오래된 두 건물을 예술가의 주거/작업실/갤러리로 재생했다. 지역 문화기관과 재단의 후원, 시애틀시와 연방 및 주 정부의 주택금융도 함께 들어간 프로젝트였다. 결국 작가들이 스스로 운영한다고 해서 공간이 의지만으로 30년 지속되는 것은 아니었다. 작가들이 운영권을 유지한 채 오래 지속하기 위해서는, 오히려 그 독립성을 받쳐주는 건물과 제도가 필요했다. 그리고 서울이 떠올랐다. 내가 대학생이던 2010년대에 작가와 기획자들이 직접 만든 작은 전시공간들이 비교적 임대료가 낮은 곳에 생겨났다가 계약 주기에 따라 이동하거나 문을 닫은 것이 기억났다. 그리고 최근에 인상깊었던 공실 프로젝트 @gongsil.vacancy 는 아얘 반대로 다음 세입자가 들어오기 전 빈 상업공간을 잠시 전시장으로 사용한다. 가장 DIY처럼 보였던 SOIL이 오히려 가장 강한 장기 부동산 인프라 위에 있고, 정제된 The Vestibule은 작품 판매를 지원하고 아트페어를 적극 활용하면서 작가 중심을 표방하며, 서울의 공실 프로젝트는 짧은 점유 기간 자체를 전시의 조건으로 활용한다. 같은 작은 전시공간이라도 도시 안에 존재하는 시간과 방식은 꽤 달랐다. 결국 공간 자체보다, 각 공간이 무엇에 기대어 얼마나 오래 머물 수 있는지가 더 궁금해졌다.
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Please join us this Thursday 9/3, 5-8pm for the opening reception of shape|shift! We are open during the first Thursday Pioneer Square Art Walk. On view Sept 3-26 @soilart Artist Links: @zoejpotter @brickfairy_ @cloecaroljane @stell_artt
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Anecdotes @soilart Paz Rocio Mallea Rubilar, Bonnie Smerdon, Til Will and Drew Miller August 6 - 29 Gallery hours: Friday - Sunday 12-5pm Anecdotes sample from memory – borrowing scenes from the past as a lens to view current experience. From its origin, anekdota, meaning “things unpublished”, refers to private stories and their ability to morph and evolve through their retelling. Bringing together new works by Drew Miller, Paz Rocio Mallea Rubilar, Bonnie Smerdon, and Til Will, these artists acknowledge the flux between landscapes of the present and places that only exist in memory. Together this work proposes a space where the past remains an active material available to inform the present. Church Lake Acrylic on canvas 36" x 30" 2026
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Today is the last day to see ANECDOTES @soilart Anecdotes Paz Rocio Mallea Rubilar, Bonnie Smerdon, Til Will and Drew Miller August 6 - 29 Gallery hours: Friday - Sunday 12-5pm Anecdotes sample from memory – borrowing scenes from the past as a lens to view current experience. From its origin, anekdota, meaning “things unpublished”, refers to private stories and their ability to morph and evolve through their retelling. Bringing together new works by Drew Miller, Paz Rocio Mallea Rubilar, Bonnie Smerdon, and Til Will, these artists acknowledge the flux between landscapes of the present and places that only exist in memory. Together this work proposes a space where the past remains an active material available to inform the present.
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