Visual

Trinky Busiu

Set your sights on Sedro

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What: Grand Opening Exhibit

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When: {calendar:event_start_date format="%g"} {calendar:event_start_date format='%a %D., %M. %j'}

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Where: Trinky Busiu, 809 Eastern Ave., Sedro-Woolley

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WHEN: 10am-5pm daily

Info: http://www.trinkybusiu.com

Wednesday, January 29, 2020

Will Sedro-Woolley be the next big thing? Have Edison, La Conner, and Mount Vernon run out of space and become too expensive for new galleries?

Recently a new gallery, Trinky Busiu, at 809 Eastern Ave., has sprung from the minds of three well-known Skagit artists—Milo White, Brian Somers, and Lyn McJunkin. For White, it’s a relief to have an attractive space where customers can appreciate his sculptures without having to stumble over hazardous tools and materials in his metal shop.

The public has enjoyed the marriage of White’s sculptural steel with McJunkin’s beautiful glass in many galleries and outdoor installations in Skagit Valley—Camano Island, the Mount Vernon Riverwalk, and on the La Conner waterfront. Now, their work is available to see and purchase at Trinky Busiu. Here, White’s rolled steel embraces McJunkin’s sparkling filigree of pate de verre glass in “Depletion” and “Refreshing Ice.”

Their stunning “Aplarium Minor” is an eight-foot tower of white enameled steel with emerald glass windows—perfect for your backyard lawn.

Somers draws on neolithic iconography and Chinese bronzes for inspiration in his complex objects made from metal, clay and fabric. His attractive “Steel Boxes” contrast the warmth of lacquered steel with brilliant gold leaf. The “Free-formed Boxes” are fabricated of Raku clay, encaustic, wire and plastic wrap.

Somers’ “Memories of Mustang” combines wooden sticks, wetted fabric and rusted steel mesh, evoking spirits of plains Indians and expansive vistas. Quite beautiful is his small “Triptych”—mixed media including raku-fired clay and steel.

In contrast are Somers’ paintings of ravens. One, entitled “Never”—in acrylic, gold leaf, rice paper, burlap and silk thread—is realist and haunting.

The “Grand Opening” exhibit also includes work by two painters, Steve Mortz and Seattle-based Amy Vandervelde. Mortz’s four “Glyph” panels strongly evoke the “white writing” of Mark Tobey with their “all-over” tangles of lines. But the iconography is all his own; cartoons of men, women, twisted bodies, faces, breasts, phalluses, cats, airplanes, happy faces and indecipherable scribbles. “Glyph 4” demonstrates how an internal edge can suggest three dimensions—in this case, a multicolored tower. And his use of discordant, opposing hues—faded greens against rose, mauve versus yellow—creates a very contemporary feeling.

In contrast, the mixed-media panels by Vandervelde are delightfully restful and expansive, the brushwork imaginative. Jewel-like colors are enlivened by the gray background. Does her otherwise abstract “Trees” find its name from the many handsome vertical lines?

After your gallery perusal, visit the nearby Woolley Market. At the trendy grocery, deli, cafe and self-service pub you’ll find refreshment and meet young folks and old-timers, too.

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