Flux

Flux

212 Third Avenue S. Seattle, WA 98104, USA Thursday, May 16, 2024–Saturday, June 29, 2024 Opening Reception: Thursday, May 16, 2024, 6 p.m.–8 p.m.


Greg Kucera Gallery is excited to announce our tenth exhibition by Seattle artist, Margie Livingston. The paintings in this exhibition build on the artist’s constantly evolving way of art-making.

Since we first began exhibited Livingston in 2004, the artist has created distinct bodies of work questioning “painting.” She has shown stylized oil on canvas paintings of tree branches and light, created sculpture from acrylic paint, combined landscape painting with performance in her “dragged paintings,” and, in her 2022 show, created representational acrylic paintings about self reflection.

In Flux, Livingston explores the phenomena of pareidolia, the act of seeing images in random stimuli,  such as clouds or shadows.

“It’s a new way for me to start a painting. Leonardo da Vinci advised painters to “look at walls splashed with a number of stains, or stones of various mixed colours. If you have to invent some scene… because by indistinct things the mind is stimulated to new inventions.”

I poured out paint and used chance occurrences to create my own personal “indistinct things.”

As I’ve worked on these paintings, I reflected on how serendipity, chance, and luck have informed these new works and how it’s hard to know where the images really come from.” 

–Margie Livingston

Biography
Margie Livingston received her MFA from the University of Washington. In 2001, a Fulbright Scholarship allowed her to study in Germany. She was the 2006 recipient of the Betty Bowen Memorial Award from the Seattle Art Museum. In 2010, Livingston received both the Neddy Artist Fellowship for Painting and the Arts Innovator Award from Artist Trust, Seattle, WA. Her work is in the collections of Seattle Art Museum, Portland Art Museum, Tacoma Art Museum, Henry Art Gallery, Hallie Ford Museum of Art, Whatcom Museum, and Shenzhen Fine Art Institute, China. She lives and works in Seattle, WA.

This work is supported in part by grants from 4Culture and the Seattle Office of Arts & Culture.