Favorites is an ongoing series of group exhibitions produced by Seattle University’s Hedreen Gallery. These exhibitions aim to support conversation, creative experimentation, and community-building between artists.
In Favorites, artists (not curators) choose who they will exhibit with and why.
Favorites exhibitions hold space for artists to have meaningful conversations with other artists. The only constraint placed on this exhibition format is that none of the exhibiting artists can have pre-existing personal or professional connections to each other. This means that extending an invitation to a "favorite" artist is an expression of admiration for the invited artist’s work, and it is also the first introduction.
In Fall 2020, RYAN! Feddersen started the invitation process for the 2021 exhibition by inviting artist Skeena Reece to participate...
Skeena Reece accepted RYAN!'s invitation and invited Dean Hunt. Skeena and Dean chose to hold their final invitation as a space to honor and acknowledge the work of Northwest Coast carvers.
The artists recorded a conversation through Zoom on December 17, 2020. In this conversation Reece and Hunt share images and documentation of past works, current work, and work in progress as they discuss their powerful, intergenerational art practices driven by commitments to care, collaboration, humor, experimentation, and community.
Skeena Reece is a Tsimshian/Gitksan and Cree/Métis artist based on the west coast of British Columbia. She has garnered national and international attention most notably for Raven: On the Colonial Fleet (2010) her bold installation and performance work presented at the 2010 Sydney Biennale and as a part of the celebrated and widely toured group exhibition Beat Nation. Her multidisciplinary practice includes performance art, “sacred clowning”, writing, music, video and visual art. She studied media arts at the Emily Carr Institute of Art and Design, and was the recipient of the British Columbia Award for Excellence in the Arts (2012), The Viva Award (2014) and the Hnyatshyn Award (2017). Recent solo exhibitions include: Moss at the Oboro Gallery, Montreal (2017) and Sweetgrass and Honey at Plug In ICA (2018), Touch Me at the Comox Valley Art Gallery (2018) and Surrounded at the Morris and Helen Belkin Gallery (2019) and Honey and Sweetgrass at the Duke Hall Gallery at the James Madison University, Virginia (2021).
Dean Hunt is a visual artist, traditional tattoo practitioner & music producer from the Eagle Clan of the Heiltsuk Nation, Waglisla (Bella Bella). Dean underwent a formal 5-year apprenticeship with his father Bradley Hunt and Older brother Shawn Hunt, where he learned the skills of Heiltsuk carving and design. He uses the tools his ancestors fought to hold onto through times of hardship and oppression, not only in his more traditional art practices, but also in his contemporary use of sound. Dean studied Studio Engineering and Music Production at Columbia Academy in Vancouver and has applied his skills as a music producer and DJ with the audio-visual collectives Skookum Sound System & See Monsters. Dean also completed a four week artist intensive at Earthline Tattoo Residency in Kelowna with teacher Dion Kazsas (Nlaka'pamux Nation), where he learned traditional hand poke and skin stitch tattoo techniques.
RYAN! Elizabeth Feddersen specializes in creating interactive murals, site-specific installations, and immersive public artworks that invite audience engagement. She received a Bachelor of Fine Arts at Cornish College of the Arts in 2009, then remained in Seattle, working as an artist, curator, studio assistant, and arts administrator, until recently relocating to Tacoma, Washington. Feddersen grew up in Wenatchee, Washington and is an enrolled member of the Confederated Tribes of the Colville Reservation, from the Okanogan and Arrow Lakes bands, and of mixed European descent. Utilizing traditional Plateau storytelling applied to contemporary issues, historical research, and digital tools, Feddersen creates material applications that interrogate official histories, examining how what we think has been formed by the information we have been taught. Feddersen recently received a National Fellowship in Visual Art from the Native Arts & Cultures Foundation and a Visual Artist Fellowship from Artist Trust. She has created large-scale interactive installations and site-specific pieces throughout North America and has recently completed permanent public artworks with the Burke Museum, City of Tacoma, and the Washington State Arts Commission for the University of Washington.
Skeena Reece, 2017
fabric, cedar, moss, beads
photo credit: Karen Asher
Image courtesy of the artist
Image courtesy of the artist
Skeena Reece, 2017
4 prints, cradleboard
photo credit: Roman Guilbault
All images and documentation in this exhibition provided by the artists unless otherwise noted.