Cheryl dos Remedios Gallery

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Daily Migration

title:	Daily Migration
place:	Kent Train Corridor
date:	July 2005
details:	Dedicated July 18, 2005 permanent installation
	The Kent Train Corridor Project provided me with the rare opportunity to create a connecting vision along a stretch of municipal landscape. This artwork is viewed by commuters, and I used the motion of the train as the means to animate this sculptural series. Unlike a typical flash animation, the panned animation of Daily Migration has an ephemeral quality. The perception of the sequence depends upon the quality of light, the viewing angle and the distance. In the morning, as commuters travel to work, the sculptures can appear from the far tracks as a flock of birds. In the evenings, as commuters travel home on the closest rail, they can see a single bird jump and fly. The changing appearance of Daily Migration reflects the process of commuting: we travel to become part of a working group, and then we return home to our individual lives.
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Healing Shelters

title:	Healing Shelters
place:	9th & Jefferson, Harborview Campus, Seattle
date:	January 2005
details:	Dedicated January 2005 Permanent installation
	Commissioned by the Harborview Community Service League and the Harborview Fund, in cooperation with METRO. Excerpt from the 2005 HMC Report to the Community Road to recovery: Patients turn bus shelters into art "While recovering from an illness, people sometimes discover new things about themselves, just as some Harboview patients did when they turned two bus shelters into works of art last year. "I never thought I was artistic," one patient said. "I never knew I could paint." Throughout 2004, more than 200 Harborview patients, family members and staff members joined with recreational therapists, case managers, art program staff and a local artist to create the "Healing Shelters." Used by hundreds of patients and visitors each day, the two METRO bus-stop pavilions are located across the street from Harborview. The art project was a collaboration involving Seattle artist Cheryl dos Remedios, METRO and Harborview patients. . . . "It feels good," one patient said, once the project was complete, "to be able to give something beautiful to the community."
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Stadium Suite

title:	Stadium Suite
place:	Seattle
date:	June 2002
details:	Opening Summer 2002
	Regina Hackett's review for the Seattle P-I describes the Stadium Art Program and critiques each project. About my work she wrote: "Cheryl dos Remedios created eight riotous banners to hang amid the signs and advertisements in the Occidental Avenue concourse. She has a great color sense and fluid understanding of form. Loaded with sea creatures and beguiling beauties, her work triumphs in the clutter of its context." My approach to art making allows me to bring a contextual layer to each of my projects. I enjoy creating artwork that maintains its authenticity and impact when sited within a public space. If you are involved in creating civic spaces and would like to commission new work, please email me.
	[ Reviews ]
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Bumbershoot Poster 2001

title:	Bumbershoot Poster 2001
place:	Seattle Center
date:	September 2001
details:	Labor Day Festival
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Ceremony of Lights

title:	Ceremony of Lights
place:	On the Seattle Center grounds
date:	December 2000
details:	November 24, 2000 to December 15, 2000
	The Ceremony of the Lights was part of the KING-5 Winterfest celebration that took place on the Seattle Center grounds. Timothy Siciliano curated an exhibit of artwork featuring light. Marita Dingus, Gene Gentry McMahon, Susan Zoccola, John Lavin, Carrie Stacey and I participated.
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Layers: Acrylic on Vinyl

title:	Layers: Acrylic on Vinyl
place:	Chase Gallery, Spokane City Hall
date:	February 2000
details:	February 1-28, 2000
	In her review for Artweek, Frances DeVuono wrote, "In her recent exhibition titled Layers, multiple sheets of clear vinyl are brightly painted on both the front and the back, often with several sheets together. The gallery is filled with dreamlike scenes of people dancing, men in suits, women in evening dress, cranes and tropical birds floating against broadly patterned fields of flora and fauna. It is playful work that is at once both familiar and a bit unsettling. . . .Her narratives recall magic realism in their juxtaposition of humans, animals, and (tropical) vegetation. Each of her large paintings has a surface that consists of repetitive images of vines and flowers that are vaguely reminiscent of Victorian carpet design. Floating on top of the floral motifs are tightly rendered figures suggestive of Mexican retablos. . . .As the title of her exhibition indicates, the work is layered - not only in imagery and painting style, but in concept. Dos Remédios seems to be creating a new kind of private folk art. . . It is powerful in its scale and use of materials. . .complex stories painted by a very talented artist . . . " Frances DeVuono is a contributing editor to Artweek. Artweek is a magazine that has "a tradition of being the best coverage of West Coast contemporary art."

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The End

title:	The End
place:	Tacoma Art Museum
date:	November 1999
	"Brooklyn installation artist Fred Wilson served as juror and viewed the theme handed to him with open-ended generosity. In selecting 94 pieces by 73 artists from 1,200 submitted slides, he didn't limit himself to the apoplectic or terminally grim. . . . sweet are the forlornly lovely prints of Seattle's Blake Haygood and the acrylic-on-steel painting of Cheryl dos Remedios. Remedios can float sultry women and frilly fish in pastel spaces and make them spare and haunting instead of silly. . . ." Regina Hackett, Seattle Post-Intelligencer Matthew Kangas, of the Seattle Times wrote, "In the most successful local juried art show of the year, conceptual artist and curator Fred Wilson has assembled a meditation on the millenium. Called "The End," it is the Tacoma Art Museum's biennial exhibition. . . . Strangely, most of the paintings are disappointing. Some combine pictures and slogans in a formulaic way. A few, however, like Cheryl dos Remedios' "Poolside Tide Pool" and Stefan Knorr's big collage of random images, are energetic." "Poolside Tide Pool" is part of the Curtis Collection.

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Sugar: Paintings & Piñatas

title:	Sugar: Paintings & Piñatas
place:	King County Art Gallery, Seattle
date:	October 1998
	The King County Gallery is not expansive, but like my paintings, I filled the space as much as possible. Twelve full-sized paintings, three groups of smaller paintings, and seven wall-mounted piñatas were exhibited. For over a decade the King County Arts Commission Gallery has provided a venue for artists to show their work. The Commission selects artists through a yearly application process. A Gallery panel of artists and community members reviews the application slides and proposals and recommends artists based on the quality of the concept and the work submitted. To be eligible, an artist must be producing work professionally but may not be represented by a commercial gallery at the time of application. Over the years, the King County Arts Commission Gallery has shown the work of artist who have become regionally and nationally renowned. An important resource to artists and the arts community alike, the program provides the exhibition space and a small stipend to help artists defray the cost of installation and publicity for the shows. All proceeds from sales go directly to the exhibiting artist. Meg Schiffler of The Stranger wrote "Yippee - another exhibition by one of Seattle's brightest and hardest working unrepresented young artists! Juxtaposing ridiculous human beings with a bizarre assortment of animals in unimaginable settings makes her fanciful paintings uniquely engaging."

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Icons of Sleepwalking

title:	Icons of Sleepwalking
place:	Daniel Smith Gallery
date:	March 1998
	Joe Heim of the Seattle Times wrote an article about this show titled Images with all the clutter and quirks of a dream: "There is a vivid, dreamlike quality to Cheryl dos Remedios' wildly imaginative paintings, so it makes sense that her most recent exhibit is titled "Icons of Sleepwalking." And with such titles as "Drowning in Mr. Clean, " "Pollo con Viper," and "Beef: It's What's for Dinner," the Seattle artist also reveals an edgy sense of humor....at the Daniel Smith Gallery, the 11 acrylic-on-steel paintings contain a mishmash of ideas, archetypes and eras that dos Remedios says allows her to "create a cultural mixed metaphor that more closely approximates the energy and movement of the real world." Like dreams, however, the connection of these paintings to the real world is ambiguous."

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Bellevue Art Museum Northwest Annual

title:	Bellevue Art Museum Northwest Annual
place:	Bellevue Art Museum
date:	July 1997
details:	July/August 1997
	This group exhibit was juried by Kathryn Kanjo. Two of my paintings were chosen for exhibition, Monkey Holding Rooster and Pollo con Viper. In his article Easel does it: The quirky Pacific Northwest Annual is more muted this year, but still has a sweet spot, Tom McTaggart of Eastsideweek wrote: "There is another island of activity amidst the quietude, a back hall where paintings by Kathy Moscou, Cheryl dos Remedios, Jean Erhardt, and Margie Livingston form a colorful crowd that feels like it's trying to reach out and touch....Finally there are two delightful acrylic-on-steel paintings by Seattle artist dos Remedios, who displays a lighthearted but knowing multiculturalism. In Pollo con Viper, Latina women and a placid Madonna hover behind a loose cloud of pistols and assault rifles. Around and about swarm a gaggle of squawking, richly toned chickens, one of them wearing a hilarious Disney-esque expression and 18th century suit. In the center, a white bird - seized by the viper - frantically claws at the air. The whole mess is painted in flowing lines, using the most liquidy of whites, blues, and sea greens, and is richly slathered over with clear varnish. It's so attractive that it perfectly balances the pointed political contents. Having met their match in sensual delight, the politics abide within the work, but don't take control of it." "Wandering back into the main gallery, it was pleasant to reflect that, despite its toned-downtone, the latest Northwest Annual still had a sweet spot."