Meet the Artists – Sarah Gallos


I am Sarah Gallos. I am co-producing Shooting Gallery Performance Series #1 as well as showing a new work.

I am drawn to art that looks quick, thrown together, raw. On the other hand, I’m drawn to precision, beauty and classic proportions. I like art that makes me feel something other than sleepy. I’m the parent of a two and a half year old, so it takes a bit more these days to get me out of my tired brain. When I see something new, something for the first time, it makes me feel awake. I like performance that makes me work a little, challenges me to make sense of it all, moves me forward on my seat, and makes my heart beat a little bit faster. Fresh blood, oxygenated blood to my brain, that’s what fuels my love of creation. I hope Shooting Gallery will do that for you.

Because this is the first Shooting Gallery, it is setting the standard for future Shooting Galleries. The willingness of those involved to plunge into something unknown gives them the freedom to create freely and without reservation. I had an idea and went with it. I’m still not sure how it will work. That’s ok though, that’s what SG is about. Julie and I wanted to make something where creators/ performers didn’t need to overly explain themselves. The show happens and they learn from that performance. The curator/ producer takes on a more present role and defends the artists in their creations.

My own hesitation to create comes from not knowing where the work will be shown, how it will be received, where I fit in. Shooting Gallery is giving our work the space to breath and stretch and change in. Shooting Gallery is also the place to fail and then move on. The lack of opportunity for stage time in Vancouver puts too much importance on “works in progress”. Shooting Gallery performances will live in their moment, to the fullest of their potential and in that, even works that fall flat, those works will make a huge bang as they hit the stage.

The road to Shooting Gallery performance series #1 has been really easy. I feel when something is meant to happen, it happens without force. Maybe it’s just that the work seems worth it for the expected yet unknown outcome. I don’t really know what it’s going to be, but I’m excited. And the people that are surrounding this event are so supportive and willing to offer up what’s needed without really knowing what it is. They are making this journey a breeze.

Come watch some new works- it’s going to be great!

Meet the Artists – Sarah Gallos

Meet the Artists – Ashley Pietro


East Coast native, here. I spent my childhood venturing around Scotts Mountain in Warren County, New Jersey, picking raspberries from my red wagon, riding on the back of my grandfather’s lawnmower, and gathering black tulips from the garden. I carry a little piece of home wherever I go, i.e. my accent where ‘water’ is ‘wooder’ and ‘coffee’ is ‘cawfee.’ At the sweet age of six, my mother enrolled me in dance lessons because, according to her, I had horrific posture. I now identify as a contemporary dancer/choreographer because I had really, really shitty posture …and it’s still, probably, not that great. I lived in Boston, Massachusetts for five years while exploring my artistic voice as a dancer and poet at The Boston Conservatory, and where I discovered my passion for Floral Design at Boson-local florist, Fern. This is also where I met my musically inclined, Alexander Technique-certified partner, John Moxley. I then moved to Mazatlan, Mexico for six months to further investigate movement. It was the most physically challenging, emotionally compromising time of my adult life where I asked myself questions. The majority of those questions usually relating to sopa de tortilla, lambrusco, or, more specifically, “How many days am I willing to take an ice-cold bird bath before I force myself up to the rooftop to reignite the hot water heater?” It was a long and windy fucking process. After I skipped out on the entirety of New England’s winter, John and I took two months to drive across the United States to where we would eventually settle— Seattle, Washington. We currently live in a Tangletown annex with 23 healthy, happy houseplants. I am constantly covered in dirt or flower material.

My work is confrontational and caffeinated.

Meet the Artists – Ashley Pietro

Meet the Artists – Robert Azevedo


Hey, I’m Robert – let me tell you a story about art.

In October 2014, I was halfway through a roadtrip when Heather and I visited the Art Institute of Chicago in Chicago.  It was in this liminal setting halfway between two oceans – homeless save for a Toyota Corolla and a tent in the trunk, with all of our possessions in storage at my boyfriend’s home – that I experienced a photo series that is so hard to shake.  Sarah Charlesworth’s Stills was exhibited in a sterile space typical of art galleries.  It featured maybe a dozen prints of people in mid-air, a literal representation of my in-between-ness and uprooted-ness.  More specifically, each image was a single person jumping or falling from a height, collected by the artist from newspapers and other public media.  They were blown-up way larger than their original resolutions so many were too pixelated to appreciate for their photographic composition, but all the images were unambiguous with regard to their visceral impact.

I walked through the room, pausing in front of each huge photo and trying to identify the individuals, as though they were my own ancestors and their descents were part of my family’s folklore.  If only I could know what happened just before the jump, or who survived the fall.  But the photos weren’t concerned with that, Charlesworth was documenting the fall and nothing else.  Something about the severity of the concept, how it would not delineate from its strict parameter to indulge the curious viewer – maybe even because the information was unknowable – that really stuck with me.

When I reached the last photo I went back and pored over the didactic.  For me images of people falling out of buildings in undeniably linked to my memory of the attack on the World Trade Centre Buildings in 2001.  But Charlesworths images precede that event quite significantly; in fact I remember reading that the artist began collecting these images and even exhibiting them way before that date.

Stills.  What a lie that title is.  What a beautiful title that says so much about photography as a medium that freezes time (as much as photography was meant to offer undeniable realism).  I compare it tone of own of my go-to quotes: Doris Humphrey’s assertion that “Movement is situated on a tended arc between two deaths”.  The truth of her statement stands in ironic contrast to the title of this show and the feeling that the free-falling individuals Charlesworth collected were in all likelihood between two deaths in a much more literal way themselves.

Then Heather and Christian were ready to move on to the next exhibition, and I looked around me and people were entering the room, and exiting after an appropriate amount of time and only the images were unmoving.


Meet the Artists – Robert Azevedo