Gaurii S Kumaar

Kumaar explores ideas of belonging and inherited rituals through her multidisciplinary practice.  Her work addresses gender inheritance and caste disparities. The artist’s iconographic, imaginative landscapes express a psychological and spiritual world that resonates universally. Her sculptures serve as contemporary artifacts that illustrate the cultural struggles of an unspoken, pluralistic society.   The artist strives to mold a world where all beings can flourish in a sacred space, feel a sense of belonging, and restore themselves through personal connections. By integrating these creative channels, Kumaar invites audiences to engage deeply with and connect intimately to these overarching themes.  

Freddy Ortega

Freddy Ortega is a Mexican painter born in Chihuahua City and raised in El Paso, Texas. His practice is shaped by a life lived across borders, where movement, uncertainty, and adaptation become part of daily experience rather than distant ideas. He earned his BFA in Painting and Drawing from the University of Texas at El Paso in 2020 and earned his MFA in Painting from Texas Christian University in 2026.
Ortega approaches painting as a disciplined and sustained practice. Influenced by early exposure to graphic design and tattoo culture, he developed a sensitivity to line, structure, and permanence that continues to inform his work. His paintings combine multiple visual languages, including precise line work, flat color, and dense material surfaces, to construct layered compositions that reflect complex identities.
His work centers on questions of mestizaje, migration, and cultural inheritance. Rather than presenting these as fixed narratives, he builds images where figures and spaces exist in tension, shaped by overlapping histories and conflicting systems of meaning. Humor and exaggeration often appear as entry points, allowing difficult subjects to unfold through visual complexity rather than direct explanation.
For Ortega, painting is not separate from life but an extension of it. The studio becomes a space where personal history, cultural references, and formal decisions converge, producing work that is both technically grounded and deeply invested in the conditions that shape it.
 

Claire Cowie

Claire Cowie uses a variety of media to reference the natural world around her home in Seattle, as well as around the world. Cowie utilizes symbols of the natural world such as birds, insects, and a variety of plant-life, as well as heavily using the negative space in a work. By using watercolor and ink in the areas around her subject Cowie references the fragmentation between the natural world and us, as well as of memory. The colors and shapes in her work create dream-like landscapes that pull in characteristics of urban architecture.

 Claire Cowie lives and works in Seattle, Washington, where she is a lecturer at the University of Washington. Cowie attended both the North Carolina School of the Arts (Winston-Salem, NC) and Washington University in St. Louis (St. Louis, MO). She received her MFA from the University of Washington (Seattle, WA). Cowie’s work has been exhibited both nationally and internationally, including shows at the Henry Art Gallery (Seattle, WA), Takeda Biennial (Oaxaca, Mexico), Tacoma Art Museum (Tacoma, WA), Frye Art Museum (Seattle, WA), Shenzhen Art Institute (Shenzhen, China) and the Art Gym at Marylhurst University (Lake Oswego, OR). Her work is included in the collections of the Henry Art Gallery (Seattle, WA), Microsoft Corporation (Redmond, WA), Safeco (Seattle, WA), and Tacoma Art Museum (Tacoma, WA), among others.

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. Mary Ann Peters awards include University of Washington Artist Images Award (2024) the McLaughlin Foundation Fellowship at the Headlands Center for the Arts (2022), the Artist Trust Visual Art Fellowship (2021), the Camargo Fellowship in Cassis, France (2017), the BAR residency in Beirut, Lebanon (2016), the Stranger Genius Award in Visual Art (2015), the Art Matters Foundation research grant (2013), the MacDowell Colony Pollock/Krasner Fellowship (2011), the Civita Institute Fellowship (2004) and the Behnke Foundation Neddy Award in Painting (2000). She has been an advisor for multiple arts organizations in the Northwest and nationally.

Fay Jones

Fay Jones’ work conveys the intimacy of mind, emotion, and spirituality. As a whole, Jones’ paintings echo a tremendous sense of humanity. The pieces meld figures, animals and symbols to conjure up existential meaning of human experience. Her characters become signifiers, representing the watery depth of the unconscious.

Fay Jones received a BFA from the Rhode Island School of Design in 1957. Awards she has received include the Joan Mitchell Painters and Sculptors grant in 2013, the Seattle Art Museum’s 2006 Poncho Artist of the Year award, grants from the NEA in 1983 and 1990, the Washington State Arts Commission in 1984, and La Napoli Art Foundation in 1989. Her work has been extensively collected in the Northwest, and is included in the collections of the Portland Art Museum and the Hallie Ford Museum of Art in Oregon, and the Seattle Art Museum and the Tacoma Art Museum in Washington, as well as the Cities of Seattle and Portland. Major exhibitions include a 2007 retrospective at the Hallie Ford Museum of Art at Willamette University, a 1997 traveling retrospective with the Boise Art Museum, and exhibitions at the Portland Art Museum, the Seattle Art Museum, the Museum of Northwest Art in La Conner, WA, the Anchorage Museum of History and Art, and the Palm Springs Desert Museum in California.

Akio Takamori

Takamori was a seminal figure in ceramic art, whose work over the past thirty years has left an enduring impact on the Pacific Northwest arts and the medium itself. His work is often autobiographical, drawing on his life in Japan, his family, and mythological themes. He is known for his coil-built figurative sculptures in which the narrative painting defines the form.  Takamori explored themes of cultural identity by engaging the history of Eastern and Western aesthetics. Bold form and color defines his body of work, which is highly expressive of human emotion and sensuality.

Akio Takamori was born and raised in Japan. He has been exhibiting in the United States, Europe and Asia since the mid 1980s. Takamori received his BFA from the Kansas City Art Institute in 1976 and his MFA from the New York State College of Ceramics, Alfred University in 1978.

Takamori’s work is included in numerous collections including the Nelson-Atkins Museum of Art in Kansas City, Los Angels County Museum of Art, Victoria & Albert Museum in London, Ariana Museum in Geneva, the Seattle Art Museum, and the Museum of Arts and Design in New York City. He is the recipient of numerous awards, including three National Endowment for the Arts Visual Artists Fellowship Grants (1986, 1988, 1992), the Joan Mitchell Foundation Painters and Sculptors Grant (2006), and the USA Ford Fellowship (2011). Takamori was a professor of art at the University of Washington. He lived and worked in Seattle.