Mary Ann Peters: "slipstream"

October 19, 2017—November 25, 2017 | Reception Thursday, October 19th, 6-8pm

James Harris Gallery is pleased to present our sixth exhibition by Seattle artist Mary Ann Peters. The show titled “slipstream” expands on themes the artist has been developing over the past couple of years, inspired by her research of contemporary events surrounding migrations out of the Middle East. After a recent residency at the Camargo Foundation in Cassis, France, Peters created this new body of work that explores how communities in a state of flux navigate through this process of displacement, physically, psychologically and emotionally. Much of the work has a nautical reference and is influenced by communities formed around water, particularly as seen in Marseille, which Peters experienced during her residency in Cassis. In this exhibition, Peters brings to light how a cultural footprint is often buried or destroyed during conflict and movement. Through her own interpretations of current events, Peters puts the viewer into a witnessing perspective and draws these issues to the surface, uncovering untold narratives and probing into uncomfortable territory. 

Download the press release

"this trembling turf" 2017
"impossible monument (tell tale)" 2017
"slipstream (by the light of the moon)" 2017
"storyboard 5" 2017
"storyboard 6" 2017
"storyboard 7" 2017
"storyboard 8" 2017

Mary Ann Peters

“I work from the premise that images are never neutral and that they sustain layered meaning from the inception of an idea to the completed piece. Historical narratives, architecture, science, personal heritage, politics and questions of perception have all played a part in my thinking over the years.  I look for seemingly disparate elements that can coalesce and redefine a topic.  I have traveled extensively, most frequently in non-Western cultures. Traveling has informed my understanding of the global roots of aesthetics. It consistently defines for me those social practices that provide outlines for cultural inquiry, including which ethical questions should be considered or supported. In the end I work to the afterimage of the viewer and the potential discourse that might ensue.  The kiss of death for any artist is the work that no one can remember.”

- Mary Ann Peters

Mary Ann Peters lives and works in Seattle, WA  She received an MFA from the University of Washington in 1978. She has received numerous awards including an Art Matters Foundaton Grant, New York that allowed her to travel to Paris and Mexico City to research the migration from the Middle East after World War II, a grant from The New Foundation, Seattle in 2014,  a MacDowell Fellowship in 2010, a Jentel residency in 2009, the Northwest Institute of Architecture & Urban Studies in Italy (NIAUSI) residency in 2003 and the Neddy Fellowship from the Behnke Foundation in 2000. Collections include Microsoft, Seattle Art Museum, 4Culture, Tacoma Art Museum, and others.