The High Wall is a video projection project curated by Britta Johnson and D.K. Pan (as of Fall 2017) that happens approximately 3 times per year in conjunction with Inscape’s Open Studios. Located on the south-west exterior of the Inscape building, projections are best viewed after dark from the porches or parking lots of the Inscape building, the PFI Parking lot, and both north- and south- bound light rail trains, as well as all levels of the CenturyLink Field parking lot.
Members of the public are welcome to a reception on the second floor south porch of the building during its Open Studios events as darkness falls.
November 30 – December 3, 2017: C. Davida Ingram’s video When I Rub the Dead Skin of the Thing against Me I find I am Soft, Brown, and Human, 2017
August 3 – 6, 2017: Klara Glosova’s video Watching the Green Grass Grow, 2011
Klara Glosova is a Czech-born visual artist currently based in Seattle. She is a founder of NEPO House and is always interested to see what happens when you place the inside out, invite the outside in and generally do things backwards. Her work intertwines her personal history growing up in Eastern Europe with her experience as an artist and mother and (above all) a curiosity and playfulness that extends to both concept and materials. Klara was awarded Seattle Magazine’s 2013 Spotlight Award, Seattle Art Museum’s 2014 Kayla Skinner Special Recognition Award, the New Foundation Fellowship, and was nominated for 2015 Stranger Genius Award.
April 27 – 30, 2017: Dan Hawkin’s The Water Project
Hawkins is a Seattle based photographer who uses a wide variety of obsolete and innovative imaging processes to create his work. These highly personal documents often deal with the dual themes of memory and decay. The Water Project, his color photographs of industrial landscapes, processed in water found on-site, show places haunted by chemistry.
November 17 – 20, 2016: Rodrigo Valenzuela’s video Prole, 2015
Rodrigo Valenzuela (b. 1982, Santiago, Chile) completed an art history degree at the University of Chile (2004), then worked in construction while making art over his first decade in the United States, completing an MFA at University of Washington in 2012. Using staged scenes and digital interventions, Valenzuela’s photography, video and installation work is rooted in the contradictory traditions of documentary and fiction, often involving narratives around immigration and the working class. He is represented by Upfor Gallery in Portland, OR and Klowden Mann in Los Angeles, CA.