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Keep Art Accessible

SlipStitch exists to make art a shared civic asset—accessible to neighbors and sustainable for artists. Your donation helps pay artists on time and keeps our community events free or low-cost. Give today to support underrepresented artists and the programs that bring the people together.

"Art is not a luxury. It's evidence that we were here."

Devon Dunham | Brd VP

CURRENT EXHIBITION
EVENTS
    Collectors Preview
    Collectors Preview
    Thu, Oct 08
    SlipStitch
    DeRoux paints the Pacific Northwest as both landscape and inner life.
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    Opening Artist Reception
    Opening Artist Reception
    Sat, Oct 10
    SlipStitch
    Join us as we welcome Andie DeRoux to the studio for an Artist's Reception from 3PM - 5PM during our Georgetown Art Attack.
    Share
    Behind The Canvas
    Behind The Canvas
    Sun, Oct 18
    SlipStitch
    Our new quarterly podcast recorded with a live audience where we will discuss leveling the creative playing field.
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    Artist Conflab ft. Andie DeRoux
    Artist Conflab ft. Andie DeRoux
    Sat, Nov 07
    SlipStitch
    Join us as Otto Chan sits down with Andie DeRoux for a little conflab about her solo Exhibit "Where the Light Holds".
    Share
2027 SCHEDULED EXHIBITIONS

THE LUNAR NEW YEAR GROUP SHOW | JANUARY/FEBRUARY

ERIC CHAN SOLO EXHIBITION | MARCH

REFLECTIONS OF CAMBODIA GROUP SHOW | APRIL

HIBA JAMEEL SOLO EXHIBITION | MAY

HANAKO O'LEARY & GRACE FLOTT GROUP SHOW | JUNE

SUZANNE ANKER SOLO EXHIBITION | JULY

ONE YOUNG KIM SOLO EXHIBITION | AUGUST

MATT WILBUR SOLO EXHIBITION | SEPTEMBER

LAUREN IIDA SOLO EXHIBITION | OCTOBER

YEAR END GROUP SHOW | NOVEMBER/DECEMBER

ASTROCULTURE JULY 2027 Suzanne Anker is a visual artist and theorist working at the intersection of art and the biological sciences. Her practice investigates the ways in which nature is being altered in the 21st century. Concerned with genetics, climate change, species extinction and toxic degradation, she calls attention to the beauty of life and the “necessity for enlightened thinking about nature’s ‘tangled bank’.” Anker frequently works with “pre-defined and found materials” botanical specimens, medical museum artifacts, laboratory apparatus, microscopic images and geological specimens. She works in a variety of mediums ranging from digital sculpture and installation to large-scale photography to plants grown by LED lights. Her work has been shown both nationally and internationally in museums and galleries including the Beijing Art and Technology Biennale at CUBE, China; the Wuhan Biennale, China; the Anyang Public Art Project, Korea; the Everson Museum of Art, Syracuse, NY; Daejeon Biennale, Korea; ZKM, Karlsruhe, Germany; Walker Art Center, Minneapolis, MN; the Smithsonian Institute, Washington, D.C.; the Phillips Collection, Washington, DC; P.S.1 Museum, New York, NY; J. Paul Getty Museum, Los Angeles, CA; the Berliner Medizinhistorisches Museum der Charité, Berlin, Germany; the Center for Cultural Inquiry, Berlin, Germany; the Pera Museum, Istanbul, Turkey; the Museum of Modern Art, Kyoto, Japan; and the International Biennial of Contemporary Art of Cartagena de Indias, Colombia. Anker’s exhibitions have been the subject of reviews and articles in the New York Times, Artforum, Art in America, Flash Art, and Nature. Her books include The Molecular Gaze: Art in the Genetic Age, co-authored with the late sociologist Dorothy Nelkin, published in 2004 by Cold Spring Harbor Laboratory Press, Visual Culture and Bioscience, co-published by University of Maryland and the National Academy of Sciences in Washington, D.C. Her writings have appeared in Art and America, Seed Magazine, Nature Reviews Genetics, Art Journal, Tema Celeste and M/E/A/N/I/N/G. She has hosted twenty episodes of the Bio Blurb show, an Internet radio program originally on WPS1 Art Radio, in collaboration with MoMA in NYC, now archived on Alana Heiss’ Clocktower Productions. She has been a speaker at Harvard University, the Royal Society in London, Cambridge University, Yale University, the London School of Economics, the Max-Planck Institute, University of Leiden, the Hamburger Bahnhof Museum in Berlin, the Courtauld Institute of Art in London, Banff Art Center any many others. Chairing SVA’s Fine Arts Department in NYC since 2005, Ms. Anker continues to interweave traditional and experimental media in her department’s new digital initiative and the SVA Bio Art Lab. She is also the recipient of SLSA's (Society of Literature, Science and the Arts) Lifetime Achievement Award (2024).

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LAND ACKNOWLEDGEMENT

This neighborhood sits in the Duwamish River valley, a place shaped by industry, migration, and survival. The history people often hear is about friction between the Duwamish Tribe
(“People of the Inside”) and early white settlement. But the Georgetown/Duwamish Valley story is also about what happened next: the river became Seattle’s industrial backbone, and the
same corridor became home to waves of immigrant and refugee communities (Chinese, Filipino, Japanese, Vietnamese, East African, Latinx, and more) because it was where work was,
where housing was more affordable, and where people could build new lives.

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That overlap matters, because it means this is shared ground in a real way. It’s shared labor history. Shared displacement. Shared organizing. And today, it’s shared environmental reality: the Duwamish River is a federal Superfund site, and the impacts don’t land evenly. Indigenous communities and low-income immigrant communities especially Asian and Pacific Islander elders who fish the river for subsistence have had to carry the health risks of pollution while also doing the work of advocacy, education, and cleanup. In other words: this place holds both harm and resilience, and it’s still unfolding.

SlipStitch’s mission, “Rooted in community, powered by art” is our way of showing up inside that living history. We’re not interested in a land acknowledgement that stops at words. We’re interested in preservation that looks like action: keeping stories visible, paying artists to tell them, and making space where culture can keep being made by AANHPI and BIPOC artists, by queer and immigrant communities, by neighbors who don’t always see themselves reflected in “arts spaces.”

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Because culture doesn’t preserve itself automatically. It gets preserved when people have room to gather, make, share, and pass knowledge forward. Through exhibitions, public programs, and artist opportunities, SlipStitch treats art as a tool for memory and continuity—documenting what’s been erased, celebrating what’s endured, and building a legacy that belongs to the communities who shaped this corridor in the first place.

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SLIPSTITCH

6107 13TH AVENUE SOUTH, SEATTLE, WA 98108

CONNECT@SLIPSTITCHSTUDIO.COM

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OPERATING HOURS

TUE - SAT | 11AM – 6PM

CLOSED ALL LOCAL STATE & FEDERALLY RECOGNIZED HOLIDAYS

 

ART ATTACK | GEORGETOWN, SEATTLE

2ND SATURDAYS | 12PM – 8PM​​​

SlipStitch is a nonprofit, tax-exempt charitable organization(tax ID #33-4385613) under Section 501(c)(3) of the InternalRevenue Code. Donations are tax-deductible as allowed by law.

​We acknowledge that the city of Seattle and its green spaces are situated on the traditional Coast Salish territory, specifically the ancestral lands of the Duwamish, Suquamish, Stillaguamish, and Muckleshoot Peoples. We recognize the stewardship of Seattle’s green spaces by the Coast Salish people since time immemorial, the disruption of this work by colonization, and now endeavor to continue this work.

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