Winona is an art gallery in an 8 x 6 foot shed in Seattle, WA, in the Ballard (Loyal Heights) neighborhood. 98117.
For location and upcoming events, email: winona@winona.biz
ON VIEW
TREATISE ON TECHNICAL IMAGES AND THEIR REPRODUCTIONS: Joseph Blake and Tania Colette B.
Opening August 29, 6-9 pm
On view August 29 - September 12, 2026
Hours by appointment. Email winona@winona.biz to make an appointment outside opening hours. Email winona@winona.biz to be added to the mailing list, where the location will be released two hours before the exhibition opening.
PAST:
Fortune and Her Misgivings: Becca Fuhrman and Mira Soutos
Opening June 13, 6-9 pm
On view June 13 - 27, 2026
Hours by appointment. Email winona@winona.biz to make an appointment outside opening hours. Email winona@winona.biz to be added to the mailing list, where the location will be released two hours before the exhibition opening.
PAST:
Trap Door: Ester Tuva, Andy DeLapp, Gabrielle Medina
Opening July 18, 6-9 pm
On view July 18 - August 1, 2026
Hours by appointment. Email winona@winona.biz to make an appointment outside opening hours. Email winona@winona.biz to be added to the mailing list, where the location will be released two hours before the exhibition opening.
Colophon
Winona Gallery is owned by
Logo graphic design by Raziah Ahmad.
Logo font is Dreamer TM.
Email: winona@winona.biz
Subscribe to our newsletter: email winona@winona.biz to be added to the list ★WHO IS WINONA?
TREATISE ON TECHNICAL IMAGES AND THEIR REPRODUCTIONS
Who tells us how to do things? Who do we trust as an authority on knowledge, no matter how practical or complex? Furthermore, when we reproduce information, how does it change in ways beyond our control?
The Berlin-based researchers in “The Image—A Cultural Technology: A Research Program for a Critical Analysis of Images,” wonder a similar thing, positing that images, and specifically the styles in which they are reproduced, frame the information that is being reproduced in the hundreds of thousands, and eventually millions.
Images in the natural sciences are a good example: they do not passively render the findings they seek to represent; they generate and inform them with the distinctive qualities of their own sphere. The transformation of observations, findings, and insights into images partakes actively in the construction of knowledge… Images…must be regarded not as finished products, but with a view to all components of their generation, to the techniques and interventions, the agents who apply them, and the contexts in which they take place: images, that is to say, must be considered in process. 1-2, Introduction
When we consume these diagrams, these images in process, what are our blind spots? What is left out when something is illustrated, and what do we gain when someone turns the instructions on its head?
TRAP DOOR
What’s an illusion to a contemporary painter? Rather than attempting to prove their technical prowess, Andy DeLapp, Gabrielle Medina, and Ester Tuva twist the rules of perspective to play ironic or self-referential jokes. The visual tricks and puns in these paintings remind viewers they are, in fact, looking at paint on a canvas in the shape of other forms, asking us not to get too lost in the forms themselves. This ask is, ultimately, a prompt to wonder about the line between reality and fiction, made complicated by each painting’s precarious barrier between its content and the world. This prompt is ultimately an ask to wonder whether these works present trapdoors: secret or accidental ways out of the narrative dilemmas of our time.
Fortune and Her Misgivings
Consider how much better it is to be alive. How much nicer it is to be thinking and breathing and crying and screaming than to be doing something that precludes those activities. Consider, even in the face of the heinous things we witness, we could instead have been nothing at all. “A miracle is just an accident, with fancy trappings,” critic Susan Sontag wrote in her journals. “Change—life—comes through accidents.” Accident after accident, we have brought about horrible, awful, unthinkable things. But we also brought sweet, funny, enjoyable things too, even if by mistake.
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