artists official website

Diptych for 'Meanderboard'

“Knotted Stones”, 2014. Watercolor on paper, 22x30in.

“Interlaced Shale”, 2014. Watercolor on paper, 22x30in.
These two pieces depict separate, imagined stone-binding processes: material considerations that link solid materials sequentially, building a solid, wall-like option as well as a permeable, net-like option. Both consider masonry as a subject; the hardness of stone representing the real, while the cord alludes to the process, the transformation, and the human hand.

Publication for 'Meanderboard'


As part of 'Meanderboard', Diana Lindbjerg and I created this publication, 'Pages for Consumption [dilute 1:5]' .
In it, you find examples of both of our writing in connection to themes of the exhibition: travels, labyrinths, transitions, and self. Below, you can see an example of one of my contributing pages.


'Meanderboard’ alludes to the Greek Key pattern used to describe a basic Labyrinth- the “up, right, down, left” pattern that repeats onto itself; a system that can be applied to ones own faceted identity. Local artist Allyce Wood and Danish artist Diana Lindbjerg use video, photography, and work on paper to describe concepts of persona and representation. Metaphorical imagery, documentations, and alternative portraits examine the range of truths and inconsistencies ever-present in the collective consciousness.

at SOIL Artist Run Gallery in Seattle WA 
April 3 - 30th, Wednesdays - Sundays, 12pm-5pm

Diana Lindbjerg, “Meander” (version 2.0), 2014. Graphite, dimensions variable

Diana Lindbjerg, “Containment_001”, 2014. Archival giclée print 20x24in.
Allyce Wood, “Open with Raw Edges”, 2014. Colored pencil and watercolor on paper, 15x11.5in.

Diana Lindbjerg, “Corridor”, 2014. Digital video, dimensions variable.

Allyce Wood, “Bisected with Mirror”, 2014. Grease pencil and watercolor on paper, 22x30in.

Diana Lindbjerg, “The Commute”, 2014. One in a sequence of nine digital archival prints. 8x10in.

For more images of the work, please scroll down to previous posts. This exhibition included twenty-two original pieces, including the publication 'Pages for Consumption [dilute 1:5]' which is available on site for $5. 

All installation documentation is courtesy of Diana Lindbjerg.

To read the complete caption list including information about individual works, please 'Read More'

Diptych for 'Meanderboard'

“Over and Inward”, 2014. Grease pencil and watercolor on paper, 22 x 30in.
 “Bisected with Mirror”, 2014. Grease pencil and watercolor on paper, 22 x 30in.

In conceptualizing work for 'Meanderboard', ideas of persona and and the contradictions of identity were prioritized. By rendering these masks, these draped forms, I was able to depict two versions of my own character: a fragmented self finding composure through introspection, and an inflated self, bearing gravity and marks of experience.

"Over and Inward" is reflective in it's positioning of layers, directional in its pull to what lies behind its shadow. "Bisected with Mirror" acts as more of a traditional portrait; a fully composed being that is subjected to manipulation and the literal act of self reflection.

'Paper Coil' series for Meanderboard

 “Paper Coil Series” Colored pencil on paper, 6x8in. each.

In order from left to right, top row down:  “Peak Drape”, “Bisected Knot”, “Slumped Coil”, 
“Tri-folded Drape”, “Cinched Coil”, “Standing Knot”, “Bisected Plume”,
“Folded Coil”, “Windowed Knot”

Each of these small studies is taken directly from imagination- a material somewhere between paper, plastic, and clay is hypothetically subjected to a variety of daily emotions. Their folds, bends, and shadows map reactions from these experiences. The black planes constrict or support, highlight or censor, depending on the needs of the subjects.

'Paper Coils' act as quiet diary pages, or subtle self-portraits.

Diptych for 'Meanderboard'

“Open with Raw Edges”, 2014. Colored pencil and watercolor on paper, 15" x 11.5"
 “Finished Bundle”, 2014. Colored pencil and watercolor on paper, 15" x 11.5"
These two drawings come together to describe the intangibility of the known and the complete: our dual interest in pursuing finalized objects and our desire to remain in process.

speck on speck on speck

memories of the Glaswegian night

I am pleased to announce a project in progress, 'Speck on Speck on Speck', a research project for Summer Field Studies at the Henry Art Gallery. I will be taking interviews, asking questions, and collecting research regarding humanity's inferred scale as compared to the universe. The classic adage "I am insignificant!" becomes obtuse as we rediscover the power in our multitudes, in our tininess, and the awesome power of the stars. Please email me at if interested in sharing a story or experience! I will be posting updates until the exhibition opens in June.

Constructs / Environs - video documentation

Video documentation of the Harbor Lofts installation 'Constructs / Environs.
See the following post for more information and stills.

Constructs / Environs

 detail, internal view
March 6 - 30, 2014

Allyce Wood and Pete Fleming present their installation "Constructs / Environs" in the storefront window of the Harbor Lofts Building in Pioneer Square. This new work, containing elaborate, suspended cut material and dually projected video, explores the dualities of human interaction within our planet by investigating the immediate context: constructed nature and elemental ambiguity.

Supported by the Office of Arts & Culture Seattle

internal view

full installation, external view
more images after the jump

'Resigned' on Forage Press

watercolor on paper, 22” x 14”

 I have been published on contemporary art/music blog, Forage Press, for my work inspired by 'Fever Ray'- a Swedish electronic band. This piece 'Resigned' is one of my most elaborate monochromatic works to date, and I am thrilled to share it.

You can see my work and read my accompanying essay here:

You can listen to the track here:

New Work - Triskein

watercolor on paper, 14" x 10"
This drawing, 'Triskein', taken directly from my imagination, describes the ethereal relationship humans have to the resources they themselves produce. In relation to work previously made for 'Latent Utility', human hair is depicted as a woven object, free from it's place of origin, and halfway through being processed for weaving production. While human hair is commercialized and sold for wigs and extensions, it's usage could be extended into other markets and products.

This piece will be for sale through the SOIL Artist Run Gallery Auction. Click here for more info:

SSCC Art Gallery presents the Juried Community Art Exhibition

'Of the Quarry' by Allyce Wood

I am pleased to announce the inclusion of my piece 'Of the Quarry' in this juried exhibition, thanks to the wonderful encouragement of Gallery Coordinator Akiko Masker and the SSCC Panel!

This exhibition runs through February 24th  – March 19th.
Join us for the reception on Monday, March 10th (12pm-2pm)

The South Seattle Community College Art Gallery welcomes the  public to its “Juried Community Art Exhibition”. The jury was made up of SSCC Art Gallery Committee members and guest Bryan Ohno, owner of the Bryan Ohno Gallery.

The exhibition features 38 works of art, including a mediums such as sculpture, drawing, painting, printing, photography, and mixed media.

For gallery hours and information about the exhibit, visit

Press from the Office of Arts and Culture

In conjunction with an upcoming project and CityArtist grant, the Office of Arts and Culture wrote a fantastic article describing the collaborative process of Pete Fleming and myself and our artistic intentions. You can read the whole article here, or follow this link to their website:

CityArtist Allyce Wood & Pete Fleming’s ‘Construct/Environs’

Allyce Wood and Pete Fleming transform spaces. Allyce Wood is also a recipient of a 2014 CityArtist grant, and is planning on transforming a downtown glass entryway with Fleming, in Pioneer Square this March 2014. Recently, the duo took over the Glass Pavilion in Bellevue City Hall Park, with the help of Storefronts Bellevue, filling it with paper cutouts and video projections. This mesmerizing display can be viewed from four different vantage points, but is commonly viewed from across the street, by passengers at the Bellevue Transit Center.

Transitory: Constructs/Environs

The complete video documentation of 'Transitory: Constructs/Environs' an installation 
and collaboration with Pete Fleming in support of Storefront's Bellevue.
 See the following post for more information.

Transitory: Constructs/Environs

A new video and mixed-media installation made in collaboration with Pete Fleming 
Storefronts Bellevue -  the Glass Pavilion at Bellevue City Hall
November 2013 through February 2014

interior view
detail, from the underside
external view

 "Our ideas often take on a physicality, an abstract process that forms concrete consequences. The choices we make, or are subjected to, are rendered through our environment.

For better or worse, structures are built, growth is controlled, and reality is altered. Fleming and Wood explore the dualities of human interaction within our planet by investigating the immediate context: constructed nature and elemental ambiguity."

'Connected' still available

CONNECTED: Group Show at Artist Alliance NYC came down a few days ago-
it was a wonderfully put together exhibition featuring some of my favorite West Coast artists.

I blogged about my work in the show and about the exhibition in general here.

Some works are still available online. Please follow this link to view work and shop.

// Sightlines

'Process Stages' watercolor on paper, 18" x 14" 2013
'From the Quarry' watercolor on paper, 14" x 13" 2013
'Segmented' watercolor on paper, 9" x 7" 2013

Steele Gallery

November 22 - January 10 
Opening November 22, 6:00pm-8:00pm
Concurrent Artist’s Lecture: Friday, November 22, 7:00pm

Inspired by the BUSTER SIMPSON // SURVEYOR retrospective exhibition at the Frye Art Museum, // SIGHTLINES presents the perspectives of five Seattle artists on the build-up of the detritus of a life lived and our choices about what to save (or document) and what to toss. With reference to Simpson’s self-documented performances, environmental activism, and the fleeting utility of objects and structures in the landscape, artists include Thuy-Van VuIole AlessandriniRodrigo ValenzuelaWhiting Tennis and Allyce Wood
. Curated by Shelly Leavens

RSVP to the Facebook Page here
click here to be directed to the event page 
Steele Gallery is located on the third floor of Gage Academy of Art, Seattle WA

'Connected' Cuchifritos Gallery in NYC

CONNECTED: a small works show bringing together artists from coast-to-coast

Allyce Wood 'Timber Arch'
Opening Reception: Thursday, November 14 from 5-8pm
November 14 – 20, 2013 Gallery Hours: Daily from 12-6pm
Location: Cuchifritos Gallery + Project Space
120 Essex Street (inside Essex Street Market)

Cuchifritos Gallery + Project Space is pleased to present "Connected", a group exhibition featuring more than 20 contemporary artists from New York, Seattle, San Francisco and Los Angeles. "Connected" brings together multidisciplinary work in the fields of painting, printmaking, drawing, and photography with the aim to create a dialogue between the practices of emerging artists on opposing coasts. The exhibition reveals the possibilities of merging disparate artistic communities on Manhattan’s Lower East Side, a centuries old magnet for cultures around the world, while also offering collectors an opportunity to discover new artists and trends from other parts of the country.

Participating artists include: Michael Alm, Sharon Arnold, Sergio Pizzo Barrale, Joey Bates, Margo Bird, Mary Elise Bolam, Laura Cali, Derek Erdman, Enrique Figueredo, Brian Foo, Kelly Froh, Jon Horn, Lynn Hunter, Mercedes Jelinek, Jody Joldersma, Jenny Kim, Jihee Kim, Allison Kudla, Brian Lane, Amanda Manitach, Ryan Molenkamp, Matt Ortega, Steven Paneccasio, Pilar Rico, Dan Schein, Cait Willis, and Allyce Wood. Curated by Jess Rees, Lauren Testa and Jodi Waynberg

here is the facebook event page:

Opening Day Nov. 1, Oakland

Vessel 9.5: Vessel as the Human Form, Humanity

Artists: Bill Abright, Pamela Merory Dernham, Scott Dupree, Gordon Glasgow, Thekla Hammond, Walter James Mansfield, Iris Polos, Cyrus Tilton, Wayne Shaffer, Sanjay Vora, and Allyce Wood


'Humanity’ and our perceptions of what make up the corresponding identity transcends the physical, especially when considering our societal attraction to accomplishments, statistical information, and news. Our cultures impulse towards resource management paints an interesting portrait depicting, at first glance, the goods we as a people need.  The underlying information about environmental depletion, commercial trading, and marketplace inflation of value all expand on that image, depicting the more complex face of humanity. - my commentary corresponding to the exhibition

Opening  Friday,  November 1, 6-9:00 pm, coinciding with Oakland Art Murmur

November 1 - December 14
Vessel Gallery, 471 25th Street, Oakland, CA 94612, 510-893-8800
Gallery Hours:  Tuesday through Saturday, 11-6 pm

New Work heading to NYC

'vertical knot' colored pencil on paper 6.5" x 8"

'double coil' colored pencil on paper, 6.5" x 8"

'melded arch' watercolor on paper 8" x 8"
'henge' watercolor on paper 8" x 8"
Two different, small series of mine are to be included in an upcoming show in New York; 'Connections' curated by Jess Rees at Cuchifritos Gallery. (More details regarding the show will follow soon! In the meantime you can visit the gallery's website here: )

The first body of work includes 'Vertical Knot' and 'Double Coil' as seen above. They are simply executed using black colored pencil on Italian cotton rag paper, depicting the tousled yet graceful forms of paper sculptures. These images are not based on any references- my intention to move through drawings impulsively being greater than my desire to reconstruct reality.

The second body of work showcases three 8" x 8" watercolor drawings. The stripped timber is stacked and melded together in ways not seen in reality, the resultant energy of the subjects being stoic and otherworldly. Pieces such as 'Henge' and 'Timber Arch' are intended to reflect the mystery and the use of natural resources.

Vessel 9.5: Vessel as the Human Form, Humanity

'Mouldering' watercolor on paper 2013
  Our ability to domesticate various plant species into high-yielding consumables has allowed 
our populations to extend to the numbers it has. This image of an abstracted harvest comments 
upon an instance of neglect of what has been reaped, offering a revelation that can be applied 
to extrapolated circumstances. It is not uncommon for food to spoil at market due to distribution 
or lack of sales. Similarly, a farm-raised crop is not always guaranteed to be sold for food due to
 issues of territory, labor, and management. Like any of the Earth’s species, our dependence 
on food is great, yet waste as a concept and procedure is a built in trait of the trade. 

'Petal Stockpile' watercolor on paper 2013

The inevitable end to the collection of agricultural goods is the decimation of the material’s integrity.
 Our impulse to seize control of valuable items depends on increasing our reserve in order to make 
profit (or in some cases, complete an obsession). In either case, the intrinsic qualities that make the
item worth stockpiling will lead to its ruin. In the case of the petals, they are valued due to their 
fragile forms, an image we connect to notions of romanticism. This same delicacy is what leads to 
their quick decomposition. In expanded examples, collections may be ruined by disruptions in 
the collector’s character, the item can lose favor in the marketplace, or resources may deplete;
 in all instances the desirable object falls.

These two new works will be presented at the "Humanity" Exhibition at Vessel Gallery in Oakland, California. Opening night is November 1, 6pm-9pm. Please click here to  RSVP to the event:

Visit Vessel Gallery's website here:

YARDWORK lecture with Emily Nachison

I was invited to speak about my work and process with fellow artist Emily Nachison on September 8th, with the support of Carolyn Hopkins and her organization YARDWORK in Portland Oregon.

For my presentation, I discussed the sculptures and work on paper I have been making over the last two years, and how my coinciding concepts have expanded over time. As always, my work is focused on humanity's often negagative impacts on nature, but as the art work involves, I incorporate social nostalgia for past agricultural projects, issues of value as applied to specific plants, and my newer engagement to more personal interests and ties to the natural world.

I also gave an explanation as to my methods of selecting particular mediums: it is very important for me to work in a material that is both environmentally sound (i.e. recyclable or biodegradable) as well as appropriate to the piece's message. Exhibition location, research, and intentions towards the viewer were also discussed.

To follow along with future events at YARDWORK, see their Facebook Page:

I strongly recommend the work of my co-speaker Emily Nachison. Please visit her website here: