Buy Seattle Art Online: How to Shop Form Over Function From Anywhere

• Gouache, watercolor, acrylic, pastel, pencil, mixed media on paper, framed
• 17″ H x 21″ W

“Foot Notes” by Kelly Bjork is a playful, first-person view of a lazy afternoon at home — one bare foot propped up over dark, rumpled trousers, looking out across a cream rug alive with hand-drawn diamonds, zigzags, and dashes in coral, cobalt, pink, and black. A rose-pink laptop plays a landscape-painting show alongside a fan of cartoon stills, a kilim floor cushion in tangerine and black anchors the upper right, and a copy of New American Paintings — the journal that has featured Bjork’s own work — lies open nearby. Layering gouache, watercolor, pastel, and pencil, Bjork renders every pattern and object with loving attention. The result is a self-portrait told through the things we surround ourselves with — cozy, funny, and full of the tender, everyday joy at the heart of Bjork’s work.

• Acrylic on canvas board, with vintage frame
• 6.25″ H x 5.25″ W

“Lavender Shirt” by Michael Doyle is a small, jewel-like portrait seen from behind — a bearded man turned away with his head bowed, as if lost in thought or reading something just out of view. Doyle builds the close-cropped hair and beard in dabs of slate blue, teal, and chocolate brown, the neck warm with peach and rose, against a flat field of grass green and a soft lavender collar. Set in a vintage wood frame with a brass ring hanger, the piece has the charm of a keepsake found in a family hallway. The result is a portrait that’s intimate, a little mysterious, and full of Doyle’s signature wink-and-nod warmth.

• Acrylic on canvas board, with vintage frame
• 7″ H x 7″ W

“Enwright in Stripes” by Michael Doyle is a small round portrait of a woman with a glossy black bob and blunt bangs, one hand resting on her head, her gaze steady and slightly weary beneath dark brows. A Breton-striped top in cream and black wraps her shoulders, and a bright red lip pops against the saturated cobalt ground. Presented in a round vintage frame of warm wood and gilt, the piece nods to classic cinema glamour and old portrait miniatures in equal measure. The result is a portrait that’s poised, a little wistful, and quietly cinematic.

• Acrylic on canvas
• 14″ H x 11″ W

“In Lounge with Self Portrait” by Michael Doyle is a relaxed, gently humorous interior — a bearded man in white-framed glasses lounges across a rose-printed sofa, one leg crossed high, mustard shoes and lilac socks peeking out below brown trousers. Doyle surrounds him with a sage green wall, a striped curtain in soft blues and blush, and a long shadow stretching across the floor. On the wall hangs a small profile of a man in a green shirt against black, a painting within the painting that echoes Doyle’s “My Favorite Green Shirt,” also in the exhibition. The result is a scene that’s warm, wry, and quietly self-aware — Doyle’s wink and nod rendered in paint.

• Acrylic on canvas
• 20″ H x 16″ W

“My Favorite Green Shirt” by Michael Doyle is a bold profile portrait set against a flat field of deep black, a man facing right with a calm, inward expression. Doyle builds the face and neck in warm patches of peach, rose, and apricot, the close-cropped hair in muted teal and slate, and the collared shirt in a saturated emerald green that fills the lower half of the canvas. The flat background turns the figure almost into a silhouette, giving the composition the clarity of a cameo or a vintage film still. The result is a portrait that’s simple, striking, and full of affection for an everyday favorite.

• Monoprint on wood panel
• 48″ H x 36″ W

“Variation on Kolbe Etching” is a large, atmospheric monoprint on panel in which Amy Erickson reimagines an etching by Carl Wilhelm Kolbe, the German Romantic printmaker known for his towering, overgrown foliage. Working entirely in black, white, and silvery grays, Erickson loosens Kolbe’s careful line into something fluid and smoky — branches twisting into clouds, leaves dissolving into brushy, wiped-back marks. At the lower center, two pale nudes reach toward one another, small and luminous beneath the churning canopy, while a third pale form rises along a trunk at the right, half figure and half tree. The result is a work that sits between homage and invention — classical in its bones, contemporary in its touch, and alive with movement.

• House paint on drop cloth canvas
• 83″ H x 84″ W

“Eat It All” by Becca Fuhrman is a monumental portrait painted in house paint on unstretched drop cloth canvas and hung like a banner from a brass rod. A woman with a sculpted, ice-blue pompadour gazes straight out, a coral rose clenched between glossy coral lips and two gilded tears on her cheek. Around her, Fuhrman stacks a world of loaded symbols — a pair of fuzzy dice in coral and black, a duck decoy, a column of bold stacked lettering — against blocks of terracotta, blush, ochre, and black, with a dizzying collar of op-art stripes and waves. The result is a work that’s glamorous, funny, and a little heartbroken all at once, true to Fuhrman’s interest in feminism, emotion, and the worlds we build around ourselves.

• Acrylic and house paint on Los Angeles Power Company banner
• 20″ H x 20″ W

“Power I Can See” by Becca Fuhrman is painted directly onto a worn vintage banner from a Los Angeles power company, its frayed edges, stains, and fragments of stenciled lettering — “POWER,” “EQUIPME,” “LOS ANGELES” — left fully on view. Across a patchwork of brick red, chocolate, navy, and lavender blocks, two women wrestlers in electric cobalt clash mid-match, one airborne, one bracing for impact, both outlined in a glowing red-orange. Fuhrman turns the found object into a stage, layering a scene of physical strength over an old emblem of industrial power. The result is a piece that’s bold, playful, and pointed — a reclaimed artifact that wears its history and its new story at once.

• Acrylic and house paint on wood panel
• 36″ H x 36″ W

“Sunday” by Becca Fuhrman is a sun-soaked portrait of a woman in profile, her skin glowing tangerine and her dark hair gathered into a long, rope-like braid that a hand reaches in to hold. Behind her, a poolside terrace opens onto palms, golden hills, and a band of cobalt sea, all washed in apricot light, while a checkered backdrop and blue-striped curtain frame her from the right. Fuhrman’s flat, graphic shapes and limited palette of cobalt, peach, and orange give the scene the feel of a vintage travel poster lit from within. The result is a painting about care and slow time — warm, intimate, and as unhurried as its title.

• Acrylic and house paint on wood panel
• 36″ H x 36″ W

“Soft Touch” by Becca Fuhrman is a close, sunlit composition of hands and arms threading a delicate chain of white blossoms above a terrace pool, with the cobalt sea and pale trees stretching out behind. One arm glows in saturated tangerine, while a second figure at the right is painted in cool lavender, the two tones playing off each other across the canvas. Dark blue palm fronds frame the scene from above and below, giving it the layered, graphic quality of a printed textile. The result is a painting about tenderness and attention to small things — bright, gentle, and a natural companion to Fuhrman’s “Sunday.”

• Acrylic on canvas
• 24″ H x 20″ W

“A Shepherd Adrift” by Nahom Ghirmay is a soft, dreamlike scene of a rider in white, seen from behind, seated atop a pale horse while a second, rose-pink animal with long upright ears lowers its head beside them. Above, a field of dusty teal holds a scattering of small blush-colored animals that seem to float rather than graze, their legs dissolving into thin drips of paint. Ghirmay works in translucent washes of peach, teal, and chalky white, letting the canvas breathe through every layer. The result is a painting that feels like memory as much as landscape — tender, quietly unmoored, and true to Ghirmay’s ongoing reflection on belonging and the evolving notion of home.

• Acrylic on canvas panel, framed
• 27.5″ H x 24.5″ W

“Between Places” by Nahom Ghirmay is a framed acrylic on canvas panel in which a reclining figure rests at the bottom edge of a vast, dreamlike landscape, knees raised and arms folded behind the head. Above, rolling forms of dusty blush and slate blue read as dunes, clouds, or both, while a ribbon of deep crimson winds across the composition like a river or a length of cloth, carrying a pale, folded form at its crest. Ghirmay lets the paint run in thin washes and drips, so the whole scene feels as if it’s still settling. The result is a painting about rest and transition — intimate, open-ended, and true to its title, suspended somewhere between here and there.

• Oil on gessobord
• 48″ H x 36″ W

“Moments Like This” by Barry Johnson is a radiant, large-scale oil painting of a man at rest in a field of tall prairie grass, one arm folded behind his head, his face tilted up toward a wide, clear sky. His burgundy shirt, banded in soft pink stripes, glows against a sea of golden ochre and rust, while blades of green and flame-orange seed heads rise in the foreground, framing him as if we’ve come upon him quietly. A low ridge of blue hills runs along the horizon, giving the scene a sense of open, uninterrupted space. The result is a portrait of ease and belonging — a Black figure held fully and tenderly in the landscape, true to Johnson’s commitment to visibility, resilience, and complex humanity.

• Oil on wood panel
• 38.5″ H x 30″ W

“Morning by the Window” by Kade Marsili is a sun-drenched oil on wood panel in which a young man sits barefoot on a dark wood floor, shirtless in pale, light-wash jeans, glancing over his shoulder toward the window. Morning light pours through a monstera, casting its split-leaf shadows across his chest, arm, and face, while the plant itself crowds the right side of the composition in chartreuse, olive, and deep forest green. Powder-blue walls, a polished wooden side table stacked with books, and a bowl of ripe fruit complete the scene in crisp, graphic planes of color. The result is a painting about light, ease, and private attention — warm, intimate, and quietly charged.

• Oil on wood panel
• 20″ H x 16″ W

“The Sun and the Moon” by Kade Marsili is a tightly cropped, intimate oil on wood panel that cuts the figure off just above the lips, keeping the focus on the body and the small moment unfolding beside it. A black-and-white cat leans in at his shoulder, yellow-green eyes lowered, its long fur rendered in soft, careful strokes. Marsili splits the torso between glowing orange light and deep rust shadow, with a sweep of sky-blue denim gathering in the lower right and a second figure appearing in the background, as if in a mirror or a picture on the wall. The title’s pairing feels apt — the figure warm and sunlit, the cat cool in black and white — and the result is a painting about closeness and quiet companionship: tender, sensual, and alive with Marsili’s vivid color.

• Acrylic on canvas
• 66″ H x 66″ W

“Not Yet” is a large, nearly monochrome painting rendered in cool blue-grays, slate, and soft white, its fractured surface giving the scene the hush of dusk or moonlight. A solitary figure sits on a low stone ledge, legs stretched out, while a dense shrub of pale blossoms spills across the left side of the canvas, each bloom glowing against the dark leaves. Scherer’s angular, broken brushwork lets the figure nearly dissolve into the surrounding air, so presence and absence feel evenly weighted. The title suggests a pause — a moment of waiting before something begins — and the painting holds that stillness completely: quiet, contemplative, and gently suspended.

• Acrylic on canvas, framed in walnut 
• 17″ H x 21″ W

“Kids at the Beach” is a small, intimate painting of two children leaning in together over something cupped in an outstretched pair of hands — a shell, a stone, a found treasure we never quite see. Scherer’s dry, scraped surface catches sun-warmed pinks, violets, and rust against a soft field of gray, olive, and pale blue, the figures built from angular strokes that suggest more than they define. The older child’s bowed head and the younger one’s careful hands carry the whole story. The result is a painting about shared discovery — tender, candid, and full of the quiet wonder of a day at the shore.

• Colored pencil on paper, framed
• 24″ H x 18.5″ W

“Woman with Cigarette” by Zachary Schomburg is a colored pencil portrait of a woman entirely at ease — eyes closed, chin lifted, a cigarette balanced at the corner of her mouth. Her towering pompadour is drawn in streaks of olive, rust, and teal, and her gray ringer T-shirt reads Gilley’s, Pasadena, Texas, a nod to the famous honky-tonk. Schomburg gives her the full dignity of a formal portrait, modeling the face and neck in soft peach tones, while letting her personality do the rest. The result is a drawing that is funny, affectionate, and entirely her own.

• Acrylic on canvas, framed
• 25″ H x 25″ W

“Woman with Mirror” by Zachary Schomburg is a spare, graphic portrait in acrylic on canvas — a sweep of glossy black hair, a pale blush oval of a face, and a single carefully rendered eye set against a warm, creamy ground. A thin vertical line runs down the center of the composition like the edge of a mirror, splitting brow, eye, and hair so the two halves never quite align. Schomburg’s restraint is the point: with almost everything stripped away, that small misalignment becomes the whole drama. The result is a portrait about the act of looking at oneself — minimal, poised, and quietly uncanny.

• Colored pencil on paper, framed
• 20.5″ H x 17.5″ W

“Woman with Newspaper” by Zachary Schomburg is a colored pencil portrait full of attitude — a woman glancing back over her shoulder in dark, diamond-shaped sunglasses, her white hair swept up and pale green hoops at her ears. A newspaper tucked under her arm carries a headline that seems to announce astronauts landing on the moon, while she remains thoroughly unimpressed. Schomburg builds her face in warm peach and coral against a powder-blue top, the pencil soft and layered on cream paper. The result is a character study with a poet’s sense of timing — history unfolding in the corner of the frame while she holds the center, dry-humored and completely self-possessed.

• Colored pencil on paper, framed
• 20.5″ H x 17.5″ W

“Girl on Sidewalk” by Zachary Schomburg is a colored pencil portrait of a girl caught mid-reaction — brow furrowed, eyes sliding sideways, mouth open as if interrupted mid-sentence. Her bright tangerine bob frames the face in bold, waxy layers, while a green-and-pink gingham dress with a crisp Peter Pan collar adds a note of almost formal tidiness. Schomburg renders the details with tender exaggeration, the warm skin tones and careful plaid playing against the open cream ground. The result is a portrait that feels like a candid snapshot turned into a short story — funny, affectionate, and full of character.

• Colored pencil on paper, framed
• 20.5″ H x 17.5″ W

“Man with Cigarette” by Zachary Schomburg is a closely observed portrait of an older man in a worn work cap, eyes lowered, a cigarette resting at his lips. Rendered in soft grays and deep charcoal tones, the drawing lingers on texture — the stains and creases of the cap, the weathered folds of his face, the heavy buckles of his overall straps. Schomburg’s line is patient and unshowy, letting light settle across the brow and shoulders. The result is a quiet tribute to a working life — tender, unsentimental, and rich with the details a passerby might miss.

• Oil on linen and wood panel
• 40″ H x 48″ W

“Outside In” by Kimberly Trowbridge is a bold, fractured figure composition in oil on linen and panel — a reclining body broken into angled planes of blush, pale peach, dove gray, and charcoal, then laced together with quick, vivid strokes of red-orange. An arm lifts at the upper left, and a profile watches from the right edge, drawn in a few confident black lines. Trowbridge draws on the structural language of early modernism, but her line stays loose and searching, so the figure feels assembled in real time. The result is a painting in which interior and exterior, body and room, keep trading places — energetic, rigorous, and rewarding of slow looking.

• Oil on paper, framed
• 33.5″ H x 26″ W

“Seated Figure” by Kimberly Trowbridge is an intimate oil on paper in which a seated body curls into a single rounded form, outlined in thick, textured black and set against blocks of slate gray, black, and deep crimson. Soft whites, blush, and lavender build the figure’s volume, while two hands are reduced to quick, rhythmic gestures of brick red. Trowbridge’s economy is striking — a few shapes and lines carry the full weight of the pose. The result is a work that feels inward and self-contained, with the immediacy of a drawing and the warmth and weight of oil color.