*Re-imagining Stellar Resistance by D.K. Pan will be on view in Hedreen windows Saturdays until 11pm through March 3rd.
Favorite's Favorite's Favorite is a new, annual, three-person group exhibition series coordinated and produced by Hedreen Gallery. In initiating this series, Hedreen Gallery reaffirms it’s long-running commitment to support creative experiments and risk-taking from local artists. In Favorite’s Favorite’s Favorite, artists (not curators) choose who they will conspire to exhibit with and why.
The process for the show is simple: Local Artist 1 invites another artist (Local Artist 2) to show with them. Then Artist 1 and Artist 2 invite another artist (Local Artist 3) together. The invitations include a brief description of a specific piece of work and why that work was meaningful, memorable and/or influential (a love letter of sorts).
The only constraint is that none of these three artists can have pre-existing personal or professional connections to each other. The invitation is also an introduction.
D.K. Pan is a Seattle-based artist investigating the intersection of place and memory - through visual art, video, performance, public art, installation, interventions - exploring the interstices and histories of site; the personal and collective body. Born in Seoul, South Korea, they moved to the US at age 4, and grew up in Seattle by way of Los Angeles. Pan studied Butoh dance in Seattle and San Francisco, and performed in venues and festivals throughout the Pacific Northwest, US, Japan and South Korea. They have collaborated with many artists and groups; toured Europe with Degenerate Art Ensemble and the Infernal Noise Brigade, and is a member of New Mystics. Their art practice includes a number of mediums, more recently focusing on video, presenting ‘cine-poems’ as documents of place; as well as continuing to extend community engagement practices in their role as an artist-in-residence at Yesler Terrace, 2016-2018. www.dkpan.com.
Curator Molly Mac wrote to D.K. Pan:
I am interested in the way that “TIME IS MEMORY”, the three word poem that has been in the form of murals, embossment, skywriting, spray painting and many more forms past and future (I hope), lives in within and through photography as a documentary reference point but also in how the words of the poem themselves challenge the role(s) photography often plays as a document of both time and memory.
D.K. wrote to Christopher Paul Jordan:
… I am hoping with this opportunity we can be in the same room. I have been especially drawn to your creative expressions as institutional critiques and as vehicles to examine erasure and layers of displacement, and the mixing of the street and screen. I respect both the clarity and experimental vibes I've seen in your work, and the poetic unapologetic-ness. As someone who also riffs on place, time, and memory, I definitely feel a resonance in your articulations of home, in it's multi-localities, internal and ex.
Christopher Paul Jordan (b.Tacoma,1990) integrates virtual and physical public space to form infrastructures for dialogue and self-determination among dislocated people. Jordan's paintings and sculptures are artifacts from his work in community and time-capsules for expanded inquiry.
Jordan is recipient of the 2017 Neddy Artists Award for painting, the Jon Imber Painting Fellowship, the GTCF Foundation of Art Award, the James W Ray Venture Project Award, and the most recent summer commission for Seattle Art Museum's Olympic Sculpture Park. www.chrispauljordan.com
Christopher and D.K. wrote to RYAN! Feddersen:
Since witnessing 900 Horses in a panel I would never forget how you memorialized the horses disrupting the colonial framing of the physical location, inviting a community to revisit history on an immersive and interactive level. As an artist invested in community I've been deeply inspired by your care in resurfacing histories plus the many cross-disciplinary layers and ever evolving facets of your practice. D.K. Pan further expresses awe for your use of interactivity responding to your installation work at the Borderlands exhibition in addition to your handheld micro-spill work.
RYAN! Feddersen (b.1984) Confederated Tribes of the Colville (Okanogan / Arrow Lakes) is a mixed-media installation artist who specializes in interactive and immersive artworks that invite audience engagement. She was raised in Wenatchee, Washington and follows in a long lineage of creative people. Feddersen relocated to the Seattle area in 2006 to attend Cornish College of the Arts, where she received her Bachelor of Fine Arts in 2009, graduating Magna Cum Laude with concentrations in painting, print art, drawing and sculpture. She draws on the indigenous traditions of performance, communal / experiential practice, and social engagement. Her work investigates ways of creating content through the intrinsic or connotative properties of materials paired with imagery and action. Feddersen views art as a way that we orient ourselves within culture and society. Through this lens, she creates work that invites the audience to personally investigate their relationship to contemporary American culture.
Lee Center for the Arts (CNFA)
901 12th Avenue, between Marion and Spring | 206-296-2244
Open: Wednesday through Friday 1:00-6:00 PM
2 Hour Parking is available on the street and visitor parking is available in Seattle University parking lots.
The Hedreen Gallery is wheelchair accessible.
For questions about accessibility or to request accommodations please contact Seattle University Galleries Curator Molly Mac. Two weeks advance notice of need for accommodations is requested.