Heaven and Earth 1: 2009 Heaven and Earth 2: 2010 Heaven and Earth 3: 2011 Heaven and Earth 4: 2012 Printable Maps (pdf format): letter size: 8 1/2" x 11" tabloid size: 11" x 17" original size: 17.5" x 14" Participating Artists: Seattle: Julie Lindell Joe Reno Miguel Edwards Viewlands Group Peppé Brenda Scallon Alan Fulle Suze Woolf Cameron Mason & Lara McIntosh Josho Somine Rebecca Maxim Garry Golightly The Unearth Collective Bellevue and Sammamish: Fox Anthony Spears Suzanne Tidwell California: Judy Shintani Oregon: Lee Imonen Vancouver BC: Tiki Mulvihill Sponsored by: Center on Contemporary Art Carkeek Park Advisory Council Seattle Parks and Recreation Associated Recreational Council Seattle Office of Arts & Cultural Affairs 4Culture Site Specific Supported by: QFC: Quality Food Centers University Bookstore Pacific Industrial Supply Pacific Topsoils, Inc. Green Bean Coffee House The Revere Group Jonathon Cluts contact David Francis or Ray Freeman to help support this year's show and artists.		Site 12: Alan Fulle Seattle, Washington Four Noble Truths 2012 This piece is the first wooden tower in my Towers series. For the Towers series, begun in 2005 at the Traver Gallery, I created numerous towers six to fifteen feet tall, each composed of hundreds of translucent, colorful, hand-cut epoxy resin bricks. The series represents my continuing fascination with and reimagination of skyscrapers. The cold, linear, inorganic forms of office buildings are dressed with a different significance when represented in multi-colored, curved and flowing shapes. My attention was recently captured by the significance of the Four Noble Truths, the primary teachings of Buddhist wisdom. I was struck by the relevance of these teachings to my struggles as an artist. I see that much of human life is consumed in struggle and that we dig ourselves deeper into suffering by struggling for ourselves alone. As I was drafting the idea for the show I decided that a public art installation required a far-reaching and generally relatable message, one that would mean something to most people who see it. I wanted to share my understanding of struggle, exemplified by the physical exertion spent in building the piece and the larger metaphor of the enormous amount of energy it takes to create skyscrapers. I hope that the piece will remind observers of that our struggle to escape our own egos and to live as better people is a collective one, shared by many. Up until Four Noble Truths, all the towers in my Towers series were made with epoxy resin. The resin is smooth and shining, and paint embedded in the glassy bricks is bright and colorful. With a wooden tower, the effect is to return to a raw state. Placed in context of beautiful Carkeek Park, I am scaling back the imagination that fueled the Tower series with Four Noble Truths. My aim is to recall a time when one was able to see man's re-appropriation of nature into linear and even industrial forms very clearly. Before we built with wood, then with steel and concrete, and now we even mock in epoxy resin. Now I wish to return to using wood as a tribute to my former life as a carpenter and as a tribute to a building style closer to its natural origins. Statement: I am a Maximalist and materials oriented abstract artist. I am excited by the alchemical, physical, and emotive nature of paint itself as a subject, and its interplay with other materials I use in my work - resin, glass, wood, metals and concrete. My work documents and expresses emotional states through forms within structures or zones of abstraction. Since narrative exists within the material context, it is the exploration of physical interplay of materials that allows me to express emotion, spirituality, impermanence, and other human conditions. I consider maximalism a product of minimalism and abstract expressionism, with a focus on architecture, materials, process of transformation, decay and change, influenced by the depth of a human experience. Working with paint as a sculptural tool, I enjoy experiencing its viscosity and gravity. Each type of paint and artistic material is an alchemical ingredient that transforms when brought into concert with another. I use oil paints and washes, oil and water based polyurethanes, resins, acrylics and enamels to suggest change and decay. These organic processes married with architectural forms and subtle pallets of color create a moving, restive balance of forms. I try to present a global perspective on contemporary abstract art, blending together art and industry, and minimalism with passion as they relate to the emotional perception of color, texture and light. By using varied materials and deep optical juxtapositions, I give the viewer a reason to pause, consider different points of contrast, and bond with the surroundings. Bio: Born in 1964, Alan Goodson Fulle grew up and currently lives in Seattle, Washington. Whether the medium is painting, photography, printmaking, video, or carpentry, Alan’s work explores qualities of nature and architecture. Strongly influenced by the natural beauty of the Pacific Northwest, his art emphasizes rich colors, strong organic compositions, natural earth forms, and a lexicon of harder edged shapes reminiscent of geometric architecture within a human made expression. In pursuit of his first passion, Alan graduated from the University of Washington with a BFA in painting in 1989. At the university he also explored sculpture; printmaking, including lithography, silk screening, mono-printing; and both black-and-white and color photography. The gratification Alan found in photography eventually drew him to a stronger interest in video and film. Alan began to edit and shoot video and became a certified camera operator with Summit Cable Company in 1990. In 1994 he completed a year-long certification program in Film and Video at the University of Washington. Alan has also actively pursued visual and computer arts. In 1998 Alan received his journeyman’s carpentry license, which he continues to benefit from for building his own shipping crates for his artwork, as well as building his own support structures for his giant Towers. Alan began showing his paintings in Seattle in 1989 at Azart Gallery and various local venues. He has also shown his paintings at the Pacific Northwest Annual exhibit at the Bellevue Art Museum, as well as the Kirkland Arts Center’s annual Summerfest. Alan’s piece Horn O’ Plenty was featured and received rave reviews at the Center on Contemporary Art’s Northwest Annual in the summer of 2001. Alan’s background and charisma led him to curate his first exhibition at the Kirkland Arts Center in 2004. The exhibition, “Material Witness,” displayed 35 abstract artists from the Seattle area. In 2001 Alan Fulle began representation with the William Traver gallery in Seattle. Their collaboration has resulted in ten solo shows and numerous group shows. Galleries 903, in Portland, OR, and the Elliott Louis Gallery in Vancouver, B.C., have represented Alan since 2010. Alan has also had work shown in New York, Sacramento, Sun Valley, Los Angeles at the George Billis Gallery and with his group MAAP in Drenth, Netherlands. Alan’s most recent solo show was at the Elliot Louis Gallery in Vancouver BC this past February. The show, Illuminated Village, featured multiple luminous towers each composed of hundreds of hand-cut epoxy resin bricks. In his lecture on the series, Alan calls for a critical re-imagination of the dominant urban aesthetic. The public is presented with a chance to compare the metaphor of the glowing resin skyscrapers with the mammoth structures of reality, to draw their own conclusions.