2022 END OF YEAR SALE

Discounted prices are eligible through December 31, 2022.
To purchase, please email directly to serrah@serrahrussell.com
I accept cash, Venmo, PayPal, and check if necessary. Open to discussing payment plans, when appropriate.
Taxes and shipping costs will be added when applicable.
Pick up and drop off available within Seattle area.

SLIDING SCALE

With a desire to provide more equitable access to art, I’ve recently begun experimenting with selling art from my studio on a sliding scale. This means that you are welcome to choose the bracket that is most appropriate for you at this time and purchase art according to that price point. You can indicate the Bracket Letter when emailing with purchase request.

Income Bracket Guide*

A (0-60k annual household income)

B (61k - 85k annual household income)

C (86k - 150k annual household income)

D (151k - 250k annual household income)

E (251k - + annual household income)

*This is only a guide. Please feel free to select a price point for purchasing that best represents you and your household’s current situation and your capacity to support art at this time.

Thank you for your support of my experimentation with this model. We all are in this together.

Sending you warmth and light,

Serrah

Future Potential of Dreams (2017)

Los Angeles, CA

The works included below were created for and exhibited in Spring 2017 in Los Angeles, CA in an exhibition along with artists Megumi Shauna Arai and Yael Nov. Together we used our shared photography practice and expanded it by transforming and manipulating the physicality of the image as a way to investigate its power and potential in manipulating memory, allowing both dreams and facts to emerge.

In making these works I dove into the personal and the universal. My source material was gleaned from my family’s collection of slides from before I was born and a stack of National Geographic magazines from a similar time period. Both of these set of images have shaped me. I was born into a world of images, and without my knowing, they have given eyes to my way of seeing and have shaped my upbringing. I cropped and re-photograph these images, turning them into Polaroids, scanning and digitizing them, enlarging, mirroring, and reversing them. And as I spent time with these images, cleaning them, transforming and recontextualizing them, the work became a form of meditation, as I made them my own. These images are mine, not fully, but more mine than they were before. But now they are also yours.

The images that fill our past transform us in our present and soon become our future, if we let them.

Iris

Photographic print on sintra with velvet laminate, 2017, 40x16”, edition of 3, framed in black by Gallery Frames
A) $450 $225
B) $600 $300
C) $800 $400
D) $1000 $500
E) $1200 $600

A want not to want.

Photographic print on sintra with velvet laminate, 2017, 24x16”, edition of 3, framed in black by Gallery Frames

A) $350 $175
B) $450 $225
C) $600 $300
D) $750 $375
E) $900 $450

(SOLD) Something is always far away.

Photographic print on sintra with velvet laminate, 2017, 40x16”, edition of 3, framed in black by Gallery Frames

A) $450 $225
B) $600 $300
C) $800 $400
D) $1000 $500
E) $1200 $600

(SOLD) I had the exact same dream as you.

Photographic print on sintra with velvet laminate, 2017, 40x16”, edition of 3, framed in black by Gallery Frames

A) $450 $225
B) $600 $300
C) $800 $400
D) $1000 $500
E) $1200 $600

A wounded deer leaps the highest. (After Dickinson)

Photographic print of Polaroid negative on sintra with velvet laminate, 2017, 15x12”, edition of 3, framed in black by Gallery Frames

A) $250 $125
B) $350 $175
C) $450 $225
D) $550 $275
E) $650 $325

The flower is always in the almond. (For Bachelard)

Photographic print of Polaroid negative on sintra with velvet laminate, 2017, 15x12”, edition of 3, framed in black by Gallery Frames (shown in center of image above)

A) $250 $125
B) $350 $175
C) $450 $225
D) $550 $275
E) $650 $325

Made Personal (2015)

The Alice Gallery, Seattle, WA

These works were created for and exhibited in Made Personal, a collaborative exhibition with artists Colleen RJC Bratton and Joe Rudko. We were brought together by a shared formal composition, minimalist aesthetic, and interest in working with found materials that reference a past history. The exhibition featured photo collage, sculpture, fiber arts and a collaborative publication, exploring how gestures of collage can frame common materials as both personal and significant.

The last of the lilacs

Foraged lilac flowers and branches, vellum, wood, Polaroid, 2015, 14x17x4”, framed in black

A) $300 $150
B) $450 $225
C) $600 $300
D) $750 $375
E) $900 $450

A still life.

Photographic collage, 2015, 15x18”, framed in black

A) $300 $150
B) $450 $225
C) $600 $300
D) $750 $375
E) $900 $450

COIFFED (2019)

SOIL Gallery, Seattle, WA

These works were created for and exhibited in Coiffed, curated by artist Nola Avienne.

Coiffed means an elaborate arrangement of hair.

The show examines and interprets what grows out of us and binds us together. Hair is the other. It is our identity, it hides our identity. It is power, decoration, disguise - it is warmth and it is very much glamour.

parted

Photographic print (digital collage), 2019, 17x21”, edition of 3, framed in black wood with plexi by Gallery Frames

A) $250 $125
B) $350 $175
C) $450 $225
D) $550 $275
E) $650 $325

Neither hide nor hair

Photographic print (digital collage), 2019, 17x21”, edition of 3, framed in black wood with plexi by Gallery Frames

A) $250 $125
B) $350 $175
C) $450 $225
D) $550 $275
E) $650 $325

But of course it’s hard to tell (2021)

Well Well Projects, Portland, OR

These works were created for and exhibited in a collaborative exhibition with Portland-based artist Alyson Provax.

But of course it’s hard to tell featured new work by Alyson Provax (Portland) and Serrah Russell (Seattle). This collective body of work was made in parallel (across a distance, without meeting) during the middle of 2021. Both artists developed themes of engaging with the unknown and the hidden, fascinated by the vulnerability inherent in reaching out to another (particularly after a time apart) and not knowing how you will be received. These works are an attempt at connection but also a questioning of it. They recall the anxiety that we may not be able to be truly known, and contain a diaristic reflection on feelings of emptiness, trying to remember how to bring interior life out.

Works on display included solo and collaborative pieces by both artists, as well as works that started by each but were added to in transit as they traveled between the two artists via the US Postal Service. Mailing the works became an exercise in the deliberate ceding of control as creases, marks, and imprints affected and became part of the work.

(SOLD) We need just a little more

Cameraless photograph exposed across 183 miles, 2021, 7x5”, framed in black

A) $200 $100
B) $250 $125
C) $300 $150
D) $350 $175
E) $400 $200

It’s on a delay

Cameraless photograph exposed across 183 miles, 2021, 7x5”, framed in black

A) $200 $100
B) $250 $125
C) $300 $150
D) $350 $175
E) $400 $200

To recognize each other again

Cameraless photograph exposed across 183 miles, 2021, 5x7”, framed in black

A) $200 $100
B) $250 $125
C) $300 $150
D) $350 $175
E) $400 $200

What happens in a dark place (2017)

The Vestibule, Seattle, WA

These works were created for a collaborative exhibition with Portland-based artist Alyson Provax.

As part of a collaborative conversation, Alyson Provax and Serrah Russell created new works utilizing collage, photography, letterpress and animation that explored ideas of absence, disappearance, memory and change in the context of the recent solar eclipse within the surrounding political climate.

(SOLD) Trying (to stay)

Photograph taken on cyanotype paper during 2017 solar eclipse in Seattle, WA, printed on sintra with velvet laminate, 2017, 15x12”, edition of 3, mounted flush and ready to hang

A) $250 $125
B) $350 $175
C) $450 $225
D) $550 $275
E) $650 $325

(SOLD) Changing (whether or not you do)

Photograph taken on cyanotype paper during 2017 solar eclipse in Seattle, WA, printed on sintra with velvet laminate, 2017, 15x12”, edition of 3, mounted flush and ready to hang

A) $250 $125
B) $350 $175
C) $450 $225
D) $550 $275
E) $650 $325

100 Days (2016-2017)

“The 2016 presidential election results left many feeling a wave of shock and unease. Seattle-based artist Serrah Russell channelled this disquiet into 100 Days of Collage, a series of daily meditations reflecting on the past and the ambiguous future of a newly changing world. They are simple, yet remarkably layered - fusing disparate images from issues of National Geographic and various fashion magazines to build a narrative that combines defeatist confusion with a glimmer of molotov, hope and resistance. ”

— Jon Feinstein, Humble Arts Foundation

When the results of the 2016 election came in I was suddenly feeling unexpected emotions and seeking a way to process them. A friend of mine had begun a project of 100 Days of Painting and it was inspiring to witness how therapeutic it felt to her process of creation and to me as a viewer. It inspired me to begin my own project. For 100 days, I would make collage on a daily basis and for accountability, share a piece daily on Instagram. This daily ritual became for me a new practice of creating. I began to see making as an act of meditation, a ritual for reflection, and a place to speak.

I believe that my work feels most true when it comes from a personal place, influenced by my surroundings and my experiences and during this time, I was feeling a lot and was compelled. To take in the news of the day, all the change and tension and to have a place to put it back out, to release it. It was a means for self-care, a way to be heard, to listen and to understand. And so I began. And so I continued. I admit that there were days that I felt like I had nothing to say or that what I was saying something no one wanted to hear. But there was never a day that I regretted spending the time, in the quiet of the night in my studio, hoping that my small voice would encourage others to speak a little louder.

A selection of the works from 100 Days are published in tears, tears, published by Yoffy Press.

Available for viewing and purchase here: http://www.yoffypress.com/tears-tears