Open Satellite Publications

Open Satellite Publications in co-publishing partnership with Publication Studio – an experiment in sustainable publication based in Portland, Ore. – produced three publications.

Publication #1, Meiro Koizumi was made on the occasion of Koizumi's exhibition, The Corner of Sweet and Bitter. It includes drawings from the artist's sketchbooks and essays by Robin Held, chief curator and director of exhibitions at the Frye Art Museum, Jen Graves, visual art critic for The Stranger, and Yoko Ott, director of Open Satellite and curator of the exhibition.

Publication #2, Heather and Ivan Morison is the companion publication to their sculpture Frost King. The image-filled reader includes the Morisons' newest novella Frost King, a vividly pungent tale stitching together fact, fiction and graphic post-apocalyptic visions of the future, an interview by Jen Graves, and a critical response by curator Eric Fredericksen. The first 100 copies contained a unique frottage taken from the installation.

Publications are available for purchase at

Open Satellite Editions

Each Open Satellite artist-in-residence created editions for purchase. In fall 2009 we launched our Northwest Edition Program, and selected four artists to produce an edition as well. All artists received a stipend to produce their edition and fifty percent of the sales. The remaining proceeds from edition sales supported Open Satellite's core residency program.

Below is an archive of editions from each artist-in-residence as well as work form our Northwest Edition Program. Editions are no longer available from Open Satellite.

Elias Hansen

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  • Elias Hansen created ten unique glassblown works for Open Satellite; each varies in color combination. Please inquire about colors.

    Hansen is known for constructing fantastical, yet stunningly realistic artworks of complicated systems of glass, metal, and found objects. His work has been shown at Maccarone Gallery, New York; Lawrimore Project, Seattle; The Company in Los Angeles; and Seattle Art Museum. In 2010, Hansen was a finalist for Seattle Art Museum’s Betty Bowen Award honored with the PONCHO Special Recognition Award. He is represented by Lawrimore Project.

  • I'm Holding On To This For You, 2010   (Image 1)
    Glass, cork, wax; Edition of 10
    5 1/4 x 3 x 4 in.

  • I'm Holding On To This For You, 2010   (Image 2)

Victoria Haven

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  • Mimicing the grooves of a 12" LP, Victoria Haven's Northwest Field Recording (Extended Play) is cut mirrored-vinyl reflecting names of destination spots throughout the Northwest.

    A seasoned Northwest artist, Haven’s artwork complicates and dramatizes perspective, shape, and composition. In 2004 she was awarded The Stranger Genius Award, as well as the Betty Bowen Award. Reviews of Haven’s work have appeared in Artforum and Art in America. She is represented by Greg Kucera Gallery.

  • Northwest Field Recording (Extended Play), 2010
    Cut vinyl on paper; Edition of 8
    18 1/2 x 18 in.

Isaac Layman

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  • This edition is sold out.   Each of Issac Layman's prints includes a handcrafted frame made by the artist.

    Continually examining the nature and meaning of the photographic image, Isaac Layman’s hyper-real works have been exhibited widely, receiving critical and popular praise. In 2008, Seattle Art Museum awarded Layman the Betty Bowen Award. Tacoma Art Museum, Seattle Art Museum, and Henry Art Gallery have all recently acquired Layman's work for their permanent collections. He is represented by Lawrimore Project.

  • Liquor Store, 2010
    Archival inkjet print; Edition of 8
    18 x 13 in.

Maki Tamura

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  • Each of Maki Tamura's twelve delicate brooches are hand-cut and painted, featuring different scenes such as a bear, eagle, skull, and a tropical landscape to name a few.

    Born in Kyoto and raised in Jakarta, Maki Tamura has had solo exhibitions at the Seattle Asian Art Museum, Dallas Museum of Art, Lucas Schoormans in New York, and various galleries in Germany and Italy. She is represented by James Harris Gallery.

  • Brooches, 2010   (Image 1)
    Underglaze watercolors on porcelain, felt, brass-plated nickel pin; Edition of 12
    3 5/16 x 2 3/4 x 3/16 in.
  • Brooches, 2010   (Image 2)
  • Brooches, 2010   (Image 3)
  • Brooches, 2010   (Image 4)

  • Brooches, 2010   (Image 5)

Heather and Ivan Morison

View Heather and Ivan Morison exhibition page
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  • For their edition Blackened Bones, Heather and Ivan Morison continue the narrative started by their Open Satellite installation Frost King. In their five color lithographs, they activate their massive charred wood kite, placing it in motion alongside silhouetted birds in flight. The image of Frost King is delicately drawn on a photograph, then reproduced in metallic ink on the lithograph. In Blackened Bones, Frost King is transformed into a mobile, potentially fragile form, while weighing down the actual lightness and mobility of the natural forms surrounding it. This dynamic, where potential and ruin, and nature and man-made are confused, broadens and complicates our imagination in relation to the built environment. For more information.

  • Blackened Bones, 2010   (Image 1)
    Five color lithograph on 200 gsm Symbol Tatami white; Edition of 150
    27.5 x 19.625 inches unframed
  • Blackened Bones, 2010   (Image 2)


View SIMPARCH exhibition page
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  • Give your cat the simplicity and convenience of condo living — to frolic and doze in this plush imitation of the mixed-use high rise, 989 Elements, a cornerstone of Bellevue’s contemporary urban community. With its modern design, open-air terrace, parking garage and penthouse, this dazzling cat habitat offers personal compartments for your feline’s privacy and comfort. This easy to assemble, flat pack kit will bring new sophistication to cat architecture and your home. For more information.

  • Cat Condo (Beyond Feline Living), 2010       (Image 1)
    Plywood, acrylic, carpet, aluminum, and hardware; Edition of 2
    59 x 35 x 27 inches
  • Cat Condo (Beyond Feline Living), 2010       (Image 2)

Zoe Strauss

View Zoe Strauss exhibition page
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  • Philadelphia-based photographer and installation artist Zoe Strauss focused her camera on the transitional Factoria neighborhood of Bellevue, citing the district's ambitious, yet unfulfilled, intentions—suggested by its name—to become an industrial manufacturing hub. Her edition, Works In Progress, is a postcard book consisting of eight images, seven taken by Strauss and one installation view of her exhibition of the same title at Open Satellite in 2007. There are three covers to select from. Edition of 100. For more information.

  • Works In Progress, 2010   (Image 1)
    Suite of eight postcards, ed. 100
    4 in x 6 in
  • Works In Progress, 2010   (Image 2)
    Cover option 1
  • Works In Progress, 2010   (Image 3)
    Cover option 2
  • Works In Progress, 2010   (Image 4)
    Cover option 3

  • Works In Progress, 2010   (Image 5)
  • Works In Progress, 2010   (Image 6)
  • Works In Progress, 2010   (Image 7)
  • Works In Progress, 2010   (Image 8)

Meiro Koizumi

View Meiro Koizumi exhibition page
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  • For his edition Meiro Koizumi drew inspiration from the history of Mount Rainier and Mount Fuji’s connection as official sister mountains. The resulting hand-drawn works on paper comprising the set of multiples titled Tacoma Fuji are beautifully manipulated original Japanese woodblock prints of idyllic landscapes depicting Mount Fuji. Directly marking existing prints, bucolic mountainside towns are altered by the conflation of Mount Rainier and Mount Fuji and incorporation of Northwest symbols of urbanity drawn from the artist’s memory of time spent in Bellevue during his residency. Each work on paper in this set of five is unique. For more information.

  • Tacoma Fuji 4, 2009
    Paper, paint and ink
    13 x 19 inches
  • Tacoma Fuji 5, 2009
    Paper, paint and ink
    13 x 19 inches

Dan Webb

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  • Dan Webb’s Dial It In is part of an ongoing series of interactive sculptures that investigate and challenge the notion of self-invention. An anonymous wooden body, with rotating, colorful heads mounted above, acts as a mutable representation of an individual, allowing a viewer to shift not only its physical appearance, but in effect, its religion, gender, race, political ideology, and personality. The power and ease of this gesture, coupled with the toy-like quality of the piece itself, challenges the validity of the transformation, while celebrating the perversity of it. A different set of heads is featured on each edition. Webb is represented by Greg Kucera Gallery.

  • Dial It In, 2009   (Image 1)
    Cast plastic, metal, plywood; Edition of 5
    20 x 8 x 8 in.
  • Dial It In, 2009   (Image 2)

Greg Lundgren

View Greg Lundgren exhibition page
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  • A continuation of the ideas of much of his performance and curatorial work, Greg Lundgren’s The Success of an Artist Can Be Measured By How Much Money They Make turns a basic iconographic and status object into a provocative and humorous prop. His edition, a glass brick slightly larger than a stack of twenty dollar bills, with a cartoonish rendering of a bill engraved on its top surface, simultaneously tempts, critiques, and enables its possessor, exposing an inner desire, while labeling it as absurd. For more information.

  • The Success of an Artist Can Be Measured By How Much Money They Make, 2009
    Cast glass; Edition of 12 + 3 AP
    7 x 3 x 1.5 in.

Jeffry Mitchell

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  • Jeffry Mitchell’s Elephant Snowflake Lamp exudes the playfulness, energy, and overall love associated with his work. Mitchell embraces the potential stigma of craftiness, using paper and wood cutouts, and colored lights to understand emotions on both an individual and public level, conveying the complexity of his reality through analogous representations and forms. While issues of sexual identity and memory are really at focus in the work, it is inevitably the raw emotions which makes the piece so affecting. Each of Mitchell’s unique lamps includes a drawing tucked away in a secret pouch. Lamp colors available: yellow, blue, green, aqua, pink, black light, and clear. Mitchell is represented by Ambach & Rice.

  • Elephant Snowflake Lamp, 2009
    Wood, paper, paint, and colored light bulb; Edition of 10
    20 x 16 x 13 inches

    Each work unique

Gretchen Bennett

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  • Gretchen Bennett’s Dying Fawn, freezes and preserves in a small porcelain sculpture the moment of passing on. It’s intimate, yet awkwardly small scale and tangible material entices a viewer toward it, even as the heart-wrenching gesture of Bennett’s familiar fawn should repel them. Each exquisite sculpture rests on a felt pad. For more information.

  • Dying Fawn, 2009   (Image 1)
    Porcelain, ed. 10
    14.5 x 13 x 2.5 in.

    Courtesy of Howard House.
    Gretchen would like to thank Saya Moriyasu for her assistance in realizing this work.
  • Dying Fawn, 2009   (Image 2)

Seth Kinmont

View Seth Kinmont exhibition page
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  • Cash Out / Cash In is one in a series of “kits” designed to help make transparent the working process of the Colossus Fund—to make a million dollars through a combination of producing and selling art editions and playing the stock market. Kinmont’s edition, a carbon copy tracking system that includes line items such as, materials, labor, crating, item descriptions, sales and receipts for bookkeeping, is an investment in a series of interconnecting “kits” that build on and examine the transitional states of ideas and objects. Cash Out / Cash In is an edition of five.

  • Cash Out / Cash In, 2009   (Image 1)
    Paper, ink and carbon; Edition of 5
    8.5 in x 11 in x .5 in
    $2000 each
  • Cash Out / Cash In, 2009   (Image 2)

Chris Lipomi

View Chris Lipomi exhibition page
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  • In line with Chris Lipomi’s attempts to re-imagine distinct moments in art history, for his edition, Lipomi borrowed his inspiration from as far back as 24,000 B.C. His Venus Edition, a replication of Venus of Willendorf, also known as the Woman of Willendorf, is an aluminum cast statuette of the historical female figure. While the original is widely interpreted as a fertility symbol by scholars, its true origin and cultural significance remains unknown. Each of Lipomi’s supine statuettes has unique characteristics. For more information.

  • Venus Edition 1-20, 2008
    4.5 in x 2.5 in x 1.25 in
    $50 each

Anna Hepler

View Anna Hepler exhibition page
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  • Hepler’s edition, ARREST, ARRAY Drawings 1 – 10, unique pen and ink drawings on Plexiglas, is a direct reference to her installation at Open Satellite. It is elegant with orderly and repetitive details forming what appear to be three-dimensional drawings reflective of both the chaos and order in nature. Hepler’s sources of inspiration draw from the underlying mathematical patterns in nature’s systems as evidenced by flocks of birds and swarms of insects. For more information.

  • ARREST, ARRAY Drawing 1, 2008
    Plexiglas and ink
    12 x 13.5 in.
  • ARREST, ARRAY Drawing 4, 2008
    Plexiglas and ink
    12 x 13.5 in.
  • ARREST, ARRAY Drawing 10, 2008
    Plexiglas and ink
    12 x 13.5 in.

Hilary Wilder

View Hilary Wilder exhibition page
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  • Hillary Wilder’s installation at Open Satellite, Nearer to Thee, emphasized the agency one has in how one experiences the passing of time, memory and the ephemeral. It is only natural that Wilder’s edition, Untitled–taking inspiration from, Jim Weatherly’s Midnight Train to Georgia, Eric Clapton’s Bell Bottom Blues, and her remix version of Clapton’s Wonderful Tonight—calls to attention the romantic impulse that must also be understood as a construction, and an illusion of one expectation of the experience. Untitled, 2008 is an edition of a painting repurposed to become a fictionalized printed album cover with an off-set printed album insert. For more information.

  • Untitled, 2008   (Image 1)
    7-inch record sleeve, ed. 90
    7.25 x 7.25 in.
  • Untitled, 2008   (Image 2)

Olga Koumoundouros

View Olga Koumoundouros exhibition page
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  • For her edition, Olga Koumoundouros contemptuously addresses the current incarnation of the American Dream. In a series of offset printed posters, Koumoundouros utilizes and transforms the phrases and mottos that have come to be associated with suburban sprawl and gentrification. Through adding her own critical voice, at times mocking, at others urgent, Koumoundouros positions these posters to serve simultaneously as advertisement and warning sign, placing a disclaimer on the commercialization of the pursuit of happiness. For more information.

  • [Beyond Living...], 2007
    Poster, Offset, ed. 100
    13 x 18 in.
  • [Finally...], 2007
    Poster, Offset, ed. 100
    13 x 18 in.
  • [Growth for the Sake...], 2007
    Poster, Offset, ed. 100
    13 x 18 in.
  • [I Feel Better Now], 2007
    Poster, Offset, ed. 100
    13 x 18 in.

Store photography credit: Clayton Cusak