Circular Thinking

I am very lucky to live just a 12-minute walk away from Seattle Art Museum’s Olympic Sculpture Park. It’s a regular destination for my weekly walks and, aside from the world-class art, has one of the city’s best views of Puget Sound. Earlier this week, I went on a wet, windy walk and discovered the finalized installation of Chinese contemporary artist Ai Weiwei’s Circle of Animals / Zodiac Heads, located just north of the Paccar Pavilion. The work consists of 12 bronze animal heads, each standing over ten feet tall and weighing more than 1500 pounds. According to the Seattle Art Museum’s notes on the installation, it is “installed in order of the traditional Chinese zodiac cycle: Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Ram, Monkey, Rooster, Dog, and Boar.”  

Photo courtesy of Seattle Art Museum

I first saw this piece in 2014 at the National Museum of Anthropology in Mexico City, and it delighted me. Not only am I a huge animal lover, but there is something about being around these large-than-life statues that feels joyous and whimsical, even with the complicated history behind them (see above link to notes for more) and the artist’s resulting commentary on East-West relations. 

Circle of Animals / Zodiac Heads will be on display at the Olympic Sculpture Park through October 24, 2027. On Saturday, May 30, SAM will hold a free community celebration for the official opening of the work. Details here. 

Photo courtesy of E3 Wines

Social (Justice) Sippers

A couple of weeks ago, I attended Pioneer Square’s First Thursday art walk with some friends.  As we wandered through the Sunset Market, we stopped in at 210 Seattle, which sits on the northeastern corner of Occidental Square and hosts pop-up art shows and other events. That night, Gallery Together was hosting After Hours, a lively R&B lounge with live performances and vino pours from local label E3 Wines. I like to consider myself pretty familiar with PNW wines, but, as it often goes, every time you tend to feel comfortable with something, new information comes along and shakes everything up. For me, that was the discovery of E3. I love learning about new-to-me wines, especially when they are good—and this label is, both in its product and its values.

Founded in 2022, E3 was launched to counter the expensive and often exclusionary culture in many parts of the wine industry. The brand offers a Riesling, a Malbec, and a rosé, priced between $20 and $25, and each of the bottles’ labels is created by underrepresented artists, including Black women and members of the LGBTQIA+ community. Company profits are directed towards college scholarships in wine and hospitality programs, behavioral health resources, and the development of minority- and woman-owned cultural spaces. I will definitely raise a glass to that. 

Photo by Saskia Potter

Room Refresh

Last week, the Kimpton Hotel Monaco Seattle hosted a party to celebrate the recent redesign of its guest rooms, public areas, and restaurant, Marin. Decked out with a sophisticated palette of grays and tans, with wood and marble accents, both the public and private spaces exude a quiet elegance underscored with modern lines and art that nods to the region. At Marin, a cheeky, turquoise-painted bar acts as a beacon for those looking to enjoy a cocktail (interesting tipples include the Black Fig Manhattan and the Olympic Old Fashioned, the latter of which features an Austrian walnut liqueur and kalamata-date demerara), and the menu is chock full of Mediterranean-inspired dishes crafted from fresh, Northwest ingredients. 

Hot Tip: If you find yourself downtown in the early afternoon, Marin offers happy hour from 3 to 5 p.m. daily. Enjoy a menu of $10 cocktails, wine pours, and a selection of nibbles and small plates. 

Pacific Northwest Ballet company dancers in Peter Boal’s staging of Giselle.

Photo by Angela Sterling

A Beautiful Tragedy

Few ballets have an impact on me like Giselle. Perhaps more accurately, few ballets have an impact on me in the same way as Giselle. You see, I danced ballet until I was 17 years old. When I was 14, my teacher sat me down and said I had the potential to take my skills further by studying at a more professional school. It was a crossroads moment for me, and one that will always make me wonder “what if?” Ultimately, I did not choose to pursue a career in dance, but I am lucky that the career I have allows me to still be involved with the dance community. One of the last ballets I performed in was Giselle, a gorgeous, tragic story of deep love, hidden identities, and selflessness. There is death, madness, and a vengeful pack of the ghosts of young women who died before they were married.  

Pacific Northwest Ballet is currently presenting Giselle—but only through this weekend! More than half of the production, which was staged by PNB artistic director Peter Boal and debuted in 2011, is action and pantomime, which makes it an incredibly accessible ballet. On opening night, we watched principal dancers Kyle Davis and Sarah-Gabrielle Ryan dance the roles of Duke Albrecht and Giselle, respectively, and they mesmerized the entire theater. Ryan, especially, captured the intense emotions required of her character, and her transformation, from innocent, lovestruck teenager to betrayed, despairing woman, is powerful—and she dances with a mix of precision and emotion that strikes you straight to the heart. 

The whole cast has seemed to settle into the production, executing complicated choreography sequences with ease, grace, and impressive synchronism, especially the ensemble sections in Act I and Act II’s haunting movement of the Wilis (ghost brides). Despite the story’s heartbreak, Giselle carries a poignant message on the power of love and forgiveness that is just as relevant today as it was when the ballet premiered 185 years ago—I highly recommend you go see it.