Rob Vetter – Paintings

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Rob Vetter lives in Seattle’s Rainier Valley surrounded by parks, playfields and Lake Washington. It’s no wonder that his miniature landscapes evoke glimpses of the Northwest remind us of recent strolls through the woods and walks by the water. These little gems are oil paint on blocks of wood that can be grouped on a gallery wall or stacked one on top of another.

Your landscape paintings are all miniature, and done on wood. How did you come to this format?
Whenever I’ve taken a small impromptu sketch and made a larger, more meticulous painting out of it, I’ve failed. For me, painting is all about filling the given space – when I’ve filled the space, it’s done. From that standpoint, the miniature has obvious appeal. But I also love the idea of coming across something, rather than being hit over the head by it the minute I walk in the room. And miniatures are still objects, they belong to that category epitomized by the jewel, which never needs to be explained. The 2×4 is something I had on hand – also it’s something cheap and something we take for granted.

Your tagline is “Humble art for humble folk.” Who is your audience?
I usually paint for the person I was twenty years ago, and the person I’ll be twenty years from now – the novice collector who just knows what they like, as well as someone more experienced who’s looking for something new. As for the paintings, the humble bit means, yes, they’re affordable and diminutive and can be put anywhere. In terms of the audience, they don’t really have to be humble – it’s just a tagline.

We love the snippets of nature in all your paintings. Do you paint them directly from life? These are not painted from life – they’re from photos I’ve taken. Whenever I’m out and about I always take my iPhone. I used to be very against this type of thing – a plein air (painting on site) purist you might say – but now that I have two little boys my self-righteousness has slackened a bit (along with everything else) and I’ve realized that the important thing is simply to paint. Plein air will always be the ideal, but in addition to being time consuming (travel time, set up, take down) and finicky (you can’t do it after dark), the failure rate can be high. And I don’t have a lot of space for failure in my life right now. I just hope that my years of experience as a plein air painter can imbue these pieces with enough authenticity to make them acceptable to the remaining purists, god bless them.

What has it been like to work with KOBO?
For me, working with KOBO is kind of like landing a role in the new Star Wars movie. I’ve known and loved the shop for so long, to finally be a part of it feels both inevitable and also like a dream. And the way it all came to pass couldn’t have been more perfect – I was in the shop one day and the thought occurred to me for the first time and I said to myself, “Why not?” I introduced myself to [co-owner] Binko then and there and by the end of the week I was bringing in some work. It doesn’t ever go that way.

Rob Vetter, Paintings
KOBO Gallery (at Higo) (map)
August 4, First Thursday – August 21, 2016

Studio Visit with Jewelry Artist Ann Chikahisa

After several years of being a corporate sales executive, Ann Chikahisa was ready for a change. She decided to take a metalsmithing class and got hooked on making jewelry. With a friend’s encouragment, she hosted her first trunk show and sold 70 pieces in one night. She’s been creating ever since.

With a customer base that includes designers and architects, Ann has found a niche making wearable sculpture on a miniature scale. We visited her at her White Center studio in Seattle.

You write, “Every piece I make is a journey.” Can you tell us the story behind a particular piece?
The journey begins with the wax. I take a piece of wax and play with it , using various tools to create texture. Next comes form. What shape will highlight the texture? Then I take the form and have it cast. The jewelry is then created from the forms and how I organize them and curate them. Every step is play and letting the moment happen. Sometimes my “oops” turn out to be the best pieces!

Tell us a little about how your family and culture has influenced your jewelry work.
I am a third generation Japanese American. I grew up in a creative household where my mother always was either sewing or knitting. As a child I loved to draw, paint and take art classes. Japanese culture is a huge influence on my work- wabi sabi is the essence of it.

What are your favorite pieces to wear right now?
My favorite pieces are the Stonehenge statement bracelet and the Stonehenge wrap necklace. [See them on Ann above. The wrap necklace is a single piece that’s wrapped and tied around her neck. Stunning!]

Find Chikahisa Studio jewelry on the KOBO site, or find a wider selection at either of our locations.

Photographs by Charissa Pomrehn for KOBO

Kris Marubayashi – Ceramics

MEET THE ARTIST  – ONE DAY EVENT: Wednesday, July 1, 2015, 3 – 6pm,

KOBO Gallery (at Higo) in Japantown
604 South Jackson Street
Seattle, WA  98102
(206) 381-3000
hello@koboseattle.com

Kris Marubayashi is a sansei (third generation Japanese American) ceramic artist based in Sacramento, CA.  She creates pieces that are highly textural, resembling rocks, geological formations, and metal.  KOBO patrons may be most familiar with her Caldera collection (below), inspired by volcanic cauldrons.

Wednesday, July 1, FROM 3 – 6PM  at KOBO Gallery (at Higo), meet Kris and see selected new works from workshops in Wisconsin and Curaumilla, Chile. She will also bring some of her paper clay bowls, a recent experiment in mixing cement with paper clay to to create pieces that are strong, light, and unrestrained in size.

She writes, “I think each of the workshops I went to this year showed me different ways of working with clay, including new ways of creating designs from the past. I made medium-sized slab pieces in the past that tended towards cracking, and the extruder will enable me to create similar work [see above] without that problem!”

Black Paper Clay vessel 2015

Caldera Bowls

Kris Marubayashi, Ceramics
KOBO Gallery (at Higo) (map)
One day only – meet the artist and see new work
Wednesday,  July 1, 3 – 6pm

Stephen Mickey – Ceramics

Stephen Mickey is a clay artist who plays with fire and describes himself as one of the “crap shooters of ceramics” (read on to find out why). For ten years he was the lead instructor of ceramics at Mt. Hood Community College, then transitioned to be a full time studio potter in Brush Prairie, WA in 2012. We are pleased to show his and Yuki Nyhan’s work at KOBO Gallery (at Higo).

Briefly, how would you describe yourself and your work?
I’m a dad and grandpa, a husband, a studio potter, a gardener, and I love to walk and do yoga.

The pots I make are intended to be for daily use. I have been attracted to wood fired pots since my introduction to clay. Working with porcelain and fruit wood as fuel, my Soulgama kiln has given me a vocabulary of expression that is truly satisfying. Although the forms appear simple, the 100 hour firings and the fly ash sweeping through the kiln like a river of flame create a complex, one-of-a-kind surface that I find very appealing.

Your passion for ceramics came as a surprise. What’s your back story?
I was a pre-med student at the University of Minnesota and took an art class as an elective. I thought, “How hard can making pots be? I’ll try it.” Bam! First class, we went out to an old clay pit, built pots, dug kilns into the clay banks, then fired our first attempts with wood. Wow, pretty cool! The next week I saw my instructor David Stannard make a bowl and I said to myself “That’s it. That’s how I want to spend my life,” and I never looked back. It was like a religious experience.

You are known for pottery made in your anagama wood-fired kiln. Tell us what is distinct about this process and how it affects your work.
As a potter that uses wood as a fuel I must accept the fact that each firing is unique and that the possibity of repeating results is difficult at best. I often refer to us [artists who use wood instead of electricity, gas or propane to power their kilns] as the “crap shooters of ceramics” – I mean why would we try so hard to do the impossible. We love the gamble and the serendipity of the event.

Prolonged high temperatures [over 2300 degrees Fahrenheit!] help melt the fruit wood ash that accumulates in the kiln and create startling flashing effects [color changes]. There is a front side (facing the firebox) and a lee side (side away from the fire box) where the piece is kissed by the flame.

How do you and Yuki Nyhan know each other?
Yuki (above) and I became friends many years ago when I was leading the ceramics program at the Evanston Art Center. She was a super talented potter and found her way into her current work. We maintained our friendship when I moved to the west with my wife Golda and we love to have her come out and wood fire with us as well. She is a special person and a kind and gentle soul.

If you could only use 3 words to describe your work, what would they be?
Intimate, sensual and natural.

Stephen Mickey & Yuki Nyhan, Ceramics
KOBO Gallery (at Higo) (map)
June 27 – July 19, 2015
Opening reception with the artists Saturday June 27, 3-6pm

Yuki Nyhan – Ceramics

Yuki Nyhan was born in Tokyo, Japan and lived in Saitama Prefecture until her family moved to the United States in 1968. Growing up in a Japanese household, she developed an appreciation for pottery, which led her to her first ceramics class at the Art Institute of Chicago when she was 13. We are pleased to show her work alongside Stephen Mickey’s at KOBO Gallery (at Higo).

Briefly, how would you describe yourself and your work?
My work is very quiet. I don’t necessarily think of myself as a quiet person, but I like stillness when I work. I want people to take the time and pick it up to view and feel it. From this, I hope the view can feel some of what I feel in the making.

Photo courtesy Illinois Artisans Program

How did you become a studio potter?
I grew up in a house where everyone made visual art or crafts in one form or another. It was a part of our lives. Being Japanese, I appreciated the personal nature of pottery and wanted to make it myself. The first chance I had to take art classes outside of school, I took ceramics. My siblings opted for 2D work. It seems clay was always in my soul. Stephen [Mickey], my teacher decades ago at the Evanston Art Center in Illinois, was very good at pushing the fledglings out of the classroom nest and urging them to start their own studios. I was one of those who learned to fly from him, and trial and error.

You work mostly in porcelain. What is distinctive about this material? What do you enjoy about using it?
I love the smoothness and delicate fluidity of the material. Yet, it is very strong and durable. These qualities are important because I carve and alter the forms, reflecting the undulating forms from nature.

What brings you the most joy in your work?
When I am making something and I feel like the clay and my hands are working in concert, it is the most peaceful feeling. It’s meditative and very in the moment.

If you could only use 3 words to describe your work, what would they be?
Quiet, soft, detailed.

Stephen Mickey & Yuki Nyhan, Ceramics
KOBO Gallery (at Higo) (map)
June 27 – July 19, 2015
Opening reception with the artists Saturday June 27, 3-6pm

Studio Visit with Jewelry Designer Regina Chang

We stopped by jewelry designer Regina Chang’s studio on a light-filled morning to talk to her about silver vs. gold, her favorite gemstones, and watch her begin to turn a piece of coral into a pendant. The luscious jewels in her work caught the sunlight like rock candy. Take a look around with us, won’t you?

Briefly, how would you describe yourself and your work?
I’m drawn to nature. The beauty of it, of course, but beyond that it’s the idea of imperfection that I’m captivated by. Nature is perfection, yes, but it’s also about damage, asymmetry and flaw. I’m fascinated by all this probably because despite any natural blemish, nature is still so gorgeous.

In our human reality, a physical flaw is something to be fixed or covered up. I try to make room for nature’s realities in my work – I prefer materials that remain mostly in their natural state: sliced agates with their rough exterior intact, gnarly baroque pearls, or a knotted metal hoop that’s pounded by hand and a little bit wonky.

I want my work to be relaxed the way nature is – it just is, nothing is forced or fake. I want my clients to wear my pieces and feel powerful without being overpowered.

Tell us a little about the path that led you to jewelry making.
Part of my childhood was spent in Hong Kong. I remember window-shopping with my mother and she’d point out all the best pieces in terms of gem size and quality in tasteful settings. To her dismay, I was partial to the cheap stuff! To me, fine jewelry was (and often still is) a tad tame. I liked the more elaborate pieces with rougher-looking, natural semi-precious stones and spunky settings.

My mother would give me her old costume jewelry and I’d take them all apart and make them up again to my liking. Jewelry-making became a life-time hobby and a few years out of college, I transitioned from my job reading scripts in Hollywood to a full-time bead & wire jeweler.

Any favorite gems or colors for spring?
I’m usually drawn to translucent stones (and they still feature heavily in many of my designs) but lately, I’ve been liking the opaque stones as well like lapis lazuli, malachite, bleached corals and tiger-eye. (That’s blue, green, white and brown 🙂 )

What pieces have been the most popular at KOBO?
My hammered pieces with and without stones have been well-received at KOBO I think because KOBO’s clientele understands and appreciates simple, understated beauty. My pieces dress up or down so you can go from work to play without being so obvious or loud about it.

What has it been like working with (KOBO co-owner) Binko?
Binko is a jewel! She is very respectful of her artists and she really trusts us, I think, which makes for not only an easy transaction, but a really wonderful working relationship. If she weren’t always so busy, I’d be first in line to be Binko’s best friend. My work aside, I am always shopping at KOBO, Binko has exquisite taste.

Find Regina’s earrings on the KOBO site, or find a wider selection at either of our locations.

Photographs by Charissa Pomrehn for KOBO

Studio Visit with Jewelry Artist Iris Guy

IRIS GUY POP UP SHOW THURS FEB 12! Click here for details.

Iris Guy’s jewelry has won her repeat customers and is carried not only at small boutiques like KOBO, but Seattle Art Museum and the Tel Aviv Museum of Art. We were impressed to learn she has been making some of her designs six or seven years because they continue to be popular. Take a step into Iris’ studio to see her inspirations and process.

Soldering curved silver pieces (above) to make forms for pieces like the Long Seed Earrings pictured below.

Briefly, how would you describe yourself and your work?
I mostly describe myself as a jewelry artist. I earned my Bachelor of Design in visual communications, and I’m graphic designer in my soul, but ALWAYS had the need to work with materials, and get my hands dirty rather than work on the computer all day. I knit whenever I have free time, and my first collection of jewelry was hand crocheted jewelry with silver and gold wires (I used to knit for days with my grandmother…).

Jewelry is my natural passion driven from my love for accessories and wearable art, and a natural continuation of my graphic design passion, converting the 2D to 3D.

You studied graphic design in Jerusalem, relocated to Japan, and now make jewelry in your Seattle studio up the street from KOBO at Higo. Has your international background influenced your art in any way?
Of course! I love folklore art and tribal art, I absorb and observe any place that I’m at, get inspired by shapes, patterns, materials and people.

What’s your favorite part of your job? The most challenging?
My favorite part of my job is when I people wear my pieces and I see how unique they feel. I also love working with the materials and creating something new – which is also the most challenging.

Any advice to our customers who may be looking for a special piece for their Valentine?
Pick something with your heart, usually your first intuition is the right one… 😉

Find Iris Guy’s jewelry HERE on our site, or join us at KOBO at Higo for a Valentine’s pop up trunk show!

On-site photographs by Charissa Pomrehn for KOBO / Jewelry images courtesy Iris Guy

Studio Visit with Jeweler Amanda Bristow

Discovering Amanda Bristow’s jewelry is like finding storybook treasure – tiny silver flower pods, ‘gems’ carved from driftwood, and whimsical animal medallions. We visited her tiny West Seattle studio to take a look behind the scenes of her jewelry line, Bristorium.

Briefly, how would you describe yourself and your work?
I probably spend too much time curled up on the couch daydreaming with my kitty and hot water bottle, so naturally my work has a bit of a dreamy quality to it. I often like to imagine, especially on rainy days, that I am living in a wistful fairy tale, conjuring up fleeting stories about sopping trees and fluffy little animals scurrying around outside my window. That is how I like to think about my jewelry too, that it is part of some sort of secret and bewitching narrative that I have yet to discover.

Your animal-themed jewelry reminds us of fairy tales. Where did the inspiration for these pieces come from?
My inspiration for the animal jewelry is very much derived from children’s literature. I have a special place in my heart for this type of book illustration. My mom is an artist and did a lot of illustration for a children’s mail order book company when I was growing up. My sister and I always had stacks of the most gorgeously illustrated stories. I spent so many years gazing at illustrators like Lisbeth Zwerger and Chris Van Allsburg. In fact, I still refer to many of their books when I am stumped for inspiration.

We watched a tutorial on lost wax casting after reading that you use this technique for some of your jewelry. It seems very involved! What drew you to this method?
It is pretty involved! I think what initially drew me to wax carving was the more fluid quality that could be achieved by carving a wax vs. constructing something out of flat sheet metal, sort of in the way that clay provides so many more options than origami. Most of the pieces that I make employ the lost wax technique. If there are three dimensional forms or graphic elements, then those parts started as a wax. There just isn’t any other way to get those shapes and detail.

Can you tell us a little about your wonderful animal brooches?
It gives me much happiness to imagine my brooches to be like a badge of honor Puss in Boots or some other heroic animal creature might wear. I think everyone needs a tiny medal to pin on their coat just to remind them that they can be courageous too. There are so many little struggles that people overcome every day that go unrecognized. It’s nice to think that these brooches could be a small token of merit for those unsung victories.

Any advice to our customers looking for a special piece for their Valentine?
I find it best to spend a little time thinking about your sweetheart and what sorts of things make them smile. Try to put aside any thoughts about who forgot to take out the recycling or how they haven’t yet worn that birthday sweater you gave them two years ago. Just focus on colors they like, imagery they love, things they would want to buy for themselves but deem too frivolous, and you should arrive at just the right gift. Although, if it is from the heart, you really can’t go wrong with that.

Find Amanda’s Bristorium jewelry line at both our locations – KOBO at Higo and KOBO Capitol Hill.

All photographs by Charissa Pomrehn for KOBO

2014 KOBO Holiday Gift Guide

Christmas is approaching, and it’s not too late to ‘shop small’ for friends and family at KOBO! Both locations are open every day at 11:00am between now and Christmas. Here are a few of our gift picks for the season.

For the special girl in your life:  mom, daughter, grandmother or girlfriend. . .

A lacquer jewelry box made by Heiando of Japan has two tiers and fabric lining to protect heirlooms and other jewelry. It is made out of wood and hand lacquered and painted. ($60)

For Dad…

Merino wool socks by Bengt & Lotta would be a bright spot of comfort on a dark winter day. “I love stuff that is fun, different and makes you happy,” says Lotta Glave of the husband and wife design team. ($25)

For Mom…

A VIT Bud Vase Set by Seattle artist Kristin Nelson looks great in a group or scattered around the house. Comes with three shapes: torso, pear and round. ($96, available online)

I gave one to my brother (he expects one every year now ) but actually anyone on your list…

The difficult-to-find 2015 Calendar from Karhu Studio Kyoto is in stock now! With a tall shape inspired by Edo period pillar prints (hashira-e), each month features a saying in Japanese and English with a whimsical brush illustration by  Clifton Karhu. ($29.50)

For the curious kid in your life…

This voice recorder by brandnewnoise is simple but addictive. Press a button to record a sound, then play it back and use the dial to change the speed. We tried it and were charmed! Watch a demonstration HERE. ($78 – so popular we reordered more just in time for Christmas; back in stock!)

For your best friend…

These luxurious Saipua Sauna Bars are scented with a woodsy blend of fir needle, birch, rosewood, vetiver, and cedarwood essential oils. Comes in a generous 8 oz. size and made with moisturizing olive oil. One of our customers walked into KOBO at Higo and asked, wide-eyed, “What’s that smell?” Answer: these soaps. ($17)