February — Howard/Mandville Gallery, Kirkland, WA "Contemporary Showcase — Group Show"
March — Howard/Mandville Gallery, Kirkland, WA "A Sense of Place — Group Show"
July-August — Childhood's End Gallery, Olympia, WA "Coastal Paintings"
September-October — White Bird Gallery, Cannon Beach, OR "Abstraction"
Below is a full page ad for Gallery Mack in the upcoming 2017-18 edition of 'Where Guest Book Seattle' — an annual, in-room, coffee table book that introduces visitors to the essence of the city — distributed exclusively in 15,200 upscale hotel rooms around Seattle, Eastside & South Sound and reaching 1.6 million readers.
"I believe in a kind, generous WORLD. One where if I do my part, continuing to pour love, strength, compassion and creativity into the world, I will ALWAYS be taken care of. I will have more than enough. And I will know love, because above all... I am made of LOVE."
This award is given annually for five years, based on merit and is a $50K grant and opportunity to show at the Frye Art Museum!
Opens Saturday, March 11th, 2017
Runs through April 2nd
NEW PAINTINGS BY QUINCY ANDERSON, SUSAN FAUST, CHUCK GUMPERT
TRACEY LANE & CHRISTOPHER MATHIE.
ALSO SCULPTURE BY MELANIE FERGUSON & LEO OSBORNE
Inspired by the garden, the work is largely tactile and boldly colorful.
One piece went to Howard/Mandville Gallery in Kirkland, WA.
About Mathie’s Dynamic Coastal Paintings:
Christopher Mathie is a vibrant regional painter well known for his dynamic abstractions that reference coastal landscapes. His warm style is a result of trusting personal artistic mark making, allowing pure color, texture, line and form to be distilled into essential elements. Mathie creates many large canvases of coastal-inspired renderings, as well as thoughtful smaller works that reference local subjects like the interplay of water and rocks or a crab on the cusp of sand and sea. In his spirited abstractions, Mathie conveys a realm that exists somewhere between reality and imagination.
Mathie's mixed media paintings are filled with energetic movement, fluid emotion, and bold confident brushwork, as the artist builds up layer after layer of textural paint to achieve complicated coloration and highly activated tactile surfaces. Deconstructing his subjects to their most important lines and organic forms Mathie's intriguing canvases invite viewers to engage very personally with his painterly attributes.
The Washington-state artist is widely recognized in the Pacific Northwest with over two-decades of exhibition history. His paintings have been exhibited nationally and are included in private and corporate collections nationally and internationally.
Written by Allyn Cantor, Owner of White Bird Gallery, Cannon Beach, OR
Below is the front of the gallery postcard. Opens Aug 12th.
*Above full page ad appeared in the August, 2016, edition of American Art Collector Magazine.
For more info: www.monamuseum.org/event/2016-mona-art-auction
"Painting, to me, is a practice... kind of like meditation. Some days you get somewhere, some days it is just the act of painting, moving, mixing and being. The results are not important... it is the act of doing that matters. The rewards will come in spirit, in strength, in healing. And sometimes you will have a good painting too, the rest get painted over." (Mathie)
Full page ad in the Nov. edition of "Southwest Art Magazine," page 21. Courtesy of White Bird Gallery, Cannon Beach, OR. For my solo show that was Nov 7, through Jan 5, 2016. Thank you!!!
Published in: Coast Explorer Fall/Winter 2012, Written by Veronica Russell
Christopher Mathie paints in a style he calls "emotional semi-abstraction." His work can be seen at a variety of Pacific Northwest galleries, including Gallery 903 in Portland, Gallery Mack in Seattle, Howard/Mandville Gallery in Kirkland and White Bird Gallery in Cannon Beach.
Artist Christopher Mathie has not always been so unafraid to express himself. Admittedly, the prominent Northwest artist's early work was somewhat stifled by his own fears: fears of offending the public, fears of not being able to sell his work, fears of exposing himself too much in his art. However, according to Mathie, his recent work has taken a serious turn in tone.
A recent exhibit called "Conversation Pieces" is an exploration of the human mind and body that allowed him to take off the mask and explore in ways that might not always be comfortable. "Art reflects life on all levels," he says, "and our experiences aren't all lovely."
Mathie's journey to a finished piece includes many layers, each another step on the path to completion. It is during his final layer, though, being the most visible to the viewer, that he is most concerned with his emotional state of mind. Every mark carries the energy of the artist, each mark exposes the attitude, the opinions, even the strength or weakness of the painter. He spends as much time preparing himself physically and intellectually as he does actually painting. "I have to be willing to let my emotions be viewed publicly through my work," he says, "to create confident looking and feeling pieces."
Mathie defines his style as "Emotional Semi-Abstraction" and his technique helps him exhibit that style. "I paint quickly and spontaneously," he says, "in a style that favors intuition." Often, Mathie will scatter photos around his work space, images that he's collected through the years, as he paints. He uses these images as inspirational inanimate muses as he works, interpreting bits and pieces from each photo, (or each emotion the photo elicits), onto his canvas as he builds his painting.
Mathie is quick to point out that he does not attempt to paint realism. "I truly believe reality is over rated... highly subjective," he says. Using only these bits and pieces of reality, he allows the rest of his piece to be more abstract, leaving the viewer with an important role in the painting: interpretation.
Individuals react to art based on their own collection of memories and experiences. Some are repelled by a piece that others are quite attracted to. Mathie says a good piece of art will offer the viewer an opportunity to interpret as they see fit, and he does not like to spoon feed a particular message to his viewers. "I prefer to make work that requires thinking and participation," he says. "I think people are smart and sophisticated. They like to be engaged, challenged to participate and question."