Anna Dawson
Recent Whitman College graduate Anna Dawson’s debut exhibition transforms photography and portrait into functional structures. She “recaptures” her portraits by deconstructing themfreeing them from their two-dimensional restraints—and pieces the fragments into furniture and lanterns inspired by the arts and crafts of her childhood. Reassembled memories hang in lanterns from above, glowing with laughing lips and smiling eyes. Shift Gallery, opening reception 5–8

Cameron Anne Mason
Mason’s mixed-medium pieces are born of natural observation: the layered strata of a remote cliffside, fresh dew punctuating the tips of lush grass, swirling tree rings that show the passing of time. She swaths these snapshots of the Pacific Northwest’s ever-changing landscape into folds of handwoven and dyed fabrics. In warm earthen textiles, Mason joins the manmade with the natural. Foster/White Gallery, opening reception 6–8

Patty Gone
Patty Gone grew up with romance novels—thanks to their grandmother's love for Danielle Steel—inhabited by swooning, windswept women whose silk skirts billow up amid glittering cityscapes. In Love Life, Gone creates a pseudo-romance chapbook where they reflect on how these images hum with queer undertones. As Mount Analogue’s March artist in residence, Gone will be sharing excerpts from the chapbook, conducting one-on-one readings of Steel’s novels, and screening their soap opera-esque drama Painted Dreams, where '80s piano melodies swell under wistful narration. Mount Analogue, opening reception 6–10

Richard Morhous
In The Color of Light, longtime Seattle-based painter Richard Morhous creates urbanscapes and cafes, landscapes and still lifes. Abstracted and geometric, his forms harken back to the German expressionists of the twentieth century—the distorted, blocky sketches of Lovis Corinth or Otto Dixbut blurred in vivid hues. His everyday scenes are transformed into bright strokes of acrylic. Harris Harvey Gallery, opening reception 6–8

Dion Zwirner 
Here plains and plants melt as if pulled down by gravity, drawing the eyes down to the earth. Watercolor, gauche, oil, and acrylic blend together into grasses, moss, and rainy drizzle augmented by fine lines of graphite. Already a permanent fixture in collections throughout the Northwest, including the Tacoma Art Museum, Zwirner shines as a sort of abstract naturalist. Her paintings morph nature’s wonders into impressions evoking desolate landscapes and moss-draped forests. Davidson Galleries, opening reception 6–8

Ryna Frankel
Touch provides an immediate connection with the world around us. In Hold Me, Touch Me, Ryna Frankel meditates on this through a series of interactive sculptures—funky tubes wrapped in vibrant floral, polka dot, and plaid patterns—drawings, and videos that challenge us to care for the inanimate. The multimedia artist encourages visitors to touch and feel, inviting empathy not only for these strangely sympathetic objects but also for the world and people beyond. 4Culture, opening reception 68

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