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145 S King St
Seattle, WA, 98134
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206-788-0330

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We're Hiring!!

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Sales Position Velouria

At Velouria, we pride ourselves on being inclusive and approachable.  We offer a warm and friendly environment to every single person who walks through our doors.  We impress our customers with our attention, presence, thoughtfulness, and positive energy!

We are looking for a customer associate with the following traits:

-Outgoing.  You love a chance to talk to someone new and you are an attentive listener as well.

-Passionate. You love independent design and quality-made goods.

-Quick.  You are able to prioritize tasks on the fly and understand that the customer is always first!

-Driven.  You see a task that needs doing and you take the initiative to complete it.

-Emotionally intuitive.  You can read people well and can anticipate customers' needs.

 

A sample of tasks our customer associates perform:

-Greeting and attending to customers

-Assessing customers' needs through thoughtful questioning

-Making appropriate jewelry and clothing recommendations as well as suggesting gift ideas

-Maintaining a clean, presentable, and inviting shop through dusting, cleaning, straightening and plant care

-Maintaining the merchandising vision with swift restocks and product rotation

-Steaming and tagging new merchandise

If this sounds like a good fit, please send your resume and a cover letter to Cat and Chika at hellovelouria@gmail.com by October 24th and write Customer Associate Fall 2016 in the subject line. We look forward to hearing from you!

An Interview with Colleen RJC Bratton

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This month at Velouria we have the wonderful soft-sculptures by artist, Colleen RJC Bratton. Colleen has been living in Brooklyn, New York for the past year and has created a new body of work based on this transition from Seattle to Brooklyn. In a twist of fate, Colleen and her husband will be returning to the Pacific Northwest this month!

In the organizing of this months show Hannah had the chance to learn more about Colleen and her process, spending time with her work and chatting via email. Below is a portion of that correspondence:

Stand or Crawl, 2016

Stand or Crawl, 2016

Velouria: Do you think your time in New York/East Coast has changed or influenced you/your work?

Colleen Bratton: Definitely. While in Seattle I made new work constantly without much regard to what each of their physical impacts would be. I went from a 200 square foot studio and large apartment in Seattle to working with about 50 square feet inside my New York apartment. I was doing art almost full-time in Seattle but in New York I worked part-time with another artist. The time and spatial limitations of New York City put restrictions on not only the scale of work I was making but also on the quantity. At first this was frustrating, but I quickly realized that the limitation was an opportunity to hone in on the quality. I felt a responsibility to only make work I felt was worth existing; otherwise I’d be creating waste. In January I started working on Settling In with the work Contrast. The idea for the piece came from a sketch I made four months prior which was my first week in the city. Many of my pieces function this way: I let them soak for quite some time before coming to the surface in tangible form. For the first seven months of the series I only made one work a month. This pacing allowed me the room to fine tune my process and find a trustworthy groove for making. While at Vermont Studio Center, this groove gave me the freedom to bring six more works to fruition in one month’s time.

New York City is one of the most vibrant places I’ve ever experienced. I’ve always wanted to create a body of work inspired by a public sphere and the city’s subway system was the perfect conduit. Millions of people ride the subway on a weekly basis. It’s the most public sphere in New York City and it’s the metropolitan’s connective tissue. When people are down in the tunnels a lot of the time they have no cell phone reception. The bustle of the city above comes to a halt and it’s just you and the people around you attempting to occupy their own attentions in that space. It’s a collective experience unlike any other. This series is partially a love letter to that space. It’s also about figuring out my place within that environment and charting its personality both architecturally and socially. It’s the first time I’ve worked with painting and fabric together. The hardness of the painting represents the unknown, foreign parts of the environment while the soft fabric reveals the comfort that comes after adaptation.

Contrast, 2016

Contrast, 2016

V: Much of the series "Settling In," draws inspiration from NYC, do you feel like this series is being cut short now that you're moving back West?

CB: Time Cut Short deals with that realization. The negative space in this piece weighs equal with the positive. I can feel that parallel universe in which I stayed in NYC, just in the same way I can feel the other half of that square in Time Cut Short. But I’ll never actually know what that looks like because I made the decision to move back to Seattle. I made the decision to not add that second half to Time Cut Short. The entrance to that tunnel has been filled and has become impenetrable.

There are many more works in this series that are waiting to come to fruition. For the meantime I’ll continue to make them manifest.

This body of work came out of my acclimation to New York City. It would be naïve to say I have Seattle all figured out and acclimating back will be easy as pie. The term “vice versa” comes to mind and I think I’ll focus on that.

Acclimation, 2016

Acclimation, 2016


V: Space and self are two central themes to your work, do you plan on revisiting places that have previously been sources of inspiration (like the Frye), if so do you think you'll see the space or yourself in a new light?

CB: When I join a new environment I usually wait it out to see what resonates with me. My work is primarily about the relationship between self and space over time so until time enters that equation I don’t know what places I’ll choose to study. The locations I focus on tend to be spots that are part of my normal routine. The Frye was routine when I was a security guard there. I do hope to continue to make art about public places. I’m drawn to how the familiar imagery of public places makes the work more relatable to the viewer.

V: What are you most looking forward to upon your return?

CB: First, being close to my dear friends and family again. Secondly, the art scene in Seattle is so lovely and supportive. It’s incredible how excited they are about new and experimental methods. Thirdly, I’ve missed that lush, gothic green deeply. There’s nothing like living in a city surrounded by clean water, grandiose mountains, and a blanket of emerald. It’ll be good to breathe in clean air and find new ground in the Pacific Northwest. 

A huge thanks to Colleen!

A huge thanks to Colleen!

If you haven't had a chance to see the show stop by from 6 - 9 Thursday, September, 29th for the closing reception , and meet the truly delightful Colleen in person.

Her work can be found online here or here or here.

An Interview with Neon Saltwater + Shaana Hatamian

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Our current art show features a group show curated by the The Blush Room, an online gallery space for femme identified artists. Today we're connecting with two more of the artists, 3D illustrator, Neon Saltwater and fiber artist, Shaana Hatamian.

First up, Neon Saltwater:

Neon Saltwater, "Mall Feelings" 2016

Neon Saltwater, "Mall Feelings" 2016

 

Velouria: How did you come to find 3D modeling/ what first attracted you to it?

Neon Saltwater: I got into interior 3D modeling when I was in interior design school as a commercial tool to create renderings of prospective spaces.  For a long time I thought its uses were pretty limited to that but I found myself getting lost in it and spending countless HOURS on the details. I still consider myself an interior designer, however 3D modeling as an art medium is so satisfying because the limitations that exist in the real world don't apply.

V: Describe your process, do you have any specific rituals or routines?

NS: Sometimes I have partial pieces of a space mapped out in my head, and then once I start building it in 3D it just kind of grows and grows. I try to create my own textures sometimes and I do some small detail stuff in Photoshop too at the end.  

V: Who are some artists/designers/writers/makers who inspire you?

NS: Artists that inspire me: Miranda Lorikeet, Yoko Honda, Anny Wang, Dom Sebastian, Jules de Balincourt, Edward Hopper, Matthias Weischer, Laura Callaghan, Maria Jose Carlier, Jess Audrey, Mary Katrantzou and so many more!

V: If you could spend the day with one artist past or present who would it be?

NS: All the artists above express space, interiors, objects and time in a way that hits my gut, it would be an honor to spend the day with any of them and pick their brain and observe things they notice out in the world.

See more of Neon Saltwater's work at their website.

Neon Saltwater, "She's an Aquarius" 2015

Neon Saltwater, "She's an Aquarius" 2015


Up next, Shaana Hatamian:

Shaana Hatamian, "Ikat" 2014

Shaana Hatamian, "Ikat" 2014

 

Velouria: How did you come to find weaving/ what first attracted you to it?

Shaana Hatamian: Much of my interest in textiles stems from my Iranian culture. I grew up with finely crafted Iranian rugs and textiles that are quite exceptional. My admiration for such works let me to study Fibers during my undergraduate career. I became the most curious in the field when I started learn how to weave. I am continuously interested in how color, materials, and structure come together in a practice that has such ties to tradition. 

V: Describe your process, do you have any specific rituals or routines?

SH: I sketch. I plan. I start to weave and then it always turns into something different. I listen to at least one album from start to finish.

V: Who are some artists/designers/writers/makers who inspire you?

SH: Anni Albers, Mark Rothko, Faig Ahmed, Brent Wadden

V: If you could spend the day with one artist past or present who would it be?

SH: Sheila Hicks, a brilliant contemporary fiber artist.

You can check out more of Shaana's work at her website.

Shaana Hatamian, "Proximity" 2015

Shaana Hatamian, "Proximity" 2015


A big thanks to both Shaana & Neon Saltwater for taking the time to chat about their work with us!

The Blush Room curated show is up for just a few more days, be sure to stop and check out these talented artist's work.