Category: New Work


Preston's installation at the Wing Luke Museum on display through September 18, 2011.

Earlier this year, Preston was invited to participate in an exciting exhibition at the Wing Luke Museum of the Asian Pacific American Experience, entitled Cultural Confluence - On display through September 18, 2011.

From the Wing Luke website: “The historic legacies and contemporary lives of people who are both Asian and Native American come together for the first time in this exhibition. Through a mix of contemporary art, new media and storytelling, Cultural Confluence explores what it means to be Native in the city at a time when nearly two thirds of Native Americans live away from their tribal reservations and ancestral homes.”

Inspired by curio shelves and collectors of Native Art from the early 20th Century, Preston created a unique installation of glass work, items from his personal collection of “Indian Kitsch,” hand tinted enlargements of vintage postcards, and a hand tinted portrait of Preston in Tlingit regalia by Russell Johnson.

Also included is the first proof-blanket off the loom from his collaboration with Pendleton Woolen Mills, which you can learn about in the next blog post!

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New commission installed at Seattle University!

Last Friday, July 8, Preston and his friend/colleague Joe Benvenuto installed his latest commission at the A&A Building at Seattle University.  You can see it on the new building at 12th Avenue and Marion Street on Capitol Hill.

From the future plaque, to be dedicated in September:

Preston Singletary (Tlingit, b. 1963)
Transformations, 2011
7.5 feet x 5.5 feet
Water jet-cut aluminum, powder coated enamel, water jet-cut flat glass, and steel
Commissioned by Seattle University
This piece is an abstract composition that highlights the flow of the lines, shapes, and methodical patterning within the Northwest Coast design system known as formline.  These design elements have been used for centuries by the culture to represent the natural world in carved and painted objects.

Here, the shapes and lines are showcased in a monumental fashion, removed from the traditional figurative portrayals of animals; this serves to highlight the concept that these elements are at the root of the design system and show that their power and beauty transcends representational composition.

The colors of this piece are derived from the traditional palette of Northwest Coast art: red and black. The yellow and blue come from the Chilkat weaving tradition, and are inspired by natural plant- and mineral-based pigments, which are used by the peoples of the Northwest Coast.

In addition to his Northwest Native cultural heritage, Singletary derives inspiration from decorative and modern art from the 1930s and 1940s, Primitivism and contemporary art.

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