This book accompanies the Dream Catchers, a body of work by Alan Fulle, developed through sustained inquiry into perception, intention, and inner sovereignty. While the paintings themselves operate without narrative or instruction, this volume offers context for their making and the thinking that surrounds them.
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A collection of Seattle Artist Alan Fulle’s Tower Series Sculptures, together with essays by Mike Sweney, Mark Tracy, David Francis, and an interview with Alan and Traver Gallery Founder Bill Traver. Ray C. Freeman III rounds out the volume with a discussion of how Alan’s towers are the rightful progeny of his paintings. In the ongoing series of Towers, sculptures are created from blocks of epoxy resin, focusing on the rigid “man-made” or urban aspects of beauty. The focus is on precise form and the relationship between structures as paintings in space. While alternately capturing or reflecting light and creating dense areas of color and focus, these monumental forms bring awareness to our society’s continual drive for art and design in our visual landscape. The towers are similar to Alan’s Stripe paintings, but put vertically and manifested in 3D.
For over 40 years, Northwest artist Alan Fulle has experimented with a wide variety of materials and media, often exploring the boundary between painting and sculpture, and between sculpture and video. After many years of working with cast resin, he developed serious health complications and was diagnosed with cancer of the Thymus organ and Myesthenia Gravis, an autoimmune disease in which nerve signals to muscles are interrupted. Forced to reexamine his practice and distill everything he had learned into what he feared might be a final attempt to unify the diversity of his practice, Fulle focused on a series of giant 7′ x 6′ canvases that he worked on outdoors to avoid the concentration of fumes released by various urethane washes. Faced with mortality, the artist’s culmination of a lifelong practice is embodied in Signal and Sensibility. Fulle describes the series as “alternat(ing) between mark-making and vast washes or layers of color that for me began to articulate a physical sensation of space.”