Patricia Rovzar Gallery at Assembly Art Fair 2026

PATRICIA ROVZAR GALLERY

Patricia Rovzar Gallery Participating Artists

Patricia Rovzar Gallery at Assembly Art Fair

July 23 - 26, 2026

Assembly brings together a group of leading galleries from across the Western U.S. for a series of focused, exhibition-style presentations. Set within the architecturally distinctive central atrium spaces of West Canal Yards — with exposed timber beams, expansive garage-door openings, and abundant natural light — Assembly is designed to foster sustained engagement among collectors, artists, galleries, institutions, and media.

www.rovzargallery.com | 206-223-0273 | mail@rovzargallery.com

Victoria Adams

Victoria Adams paints panoramic landscapes and vistas that feature light-filled skies, faraway horizons, and stretches of hills or reflective waters that beckon to be visually explored. The landscapes she paints are invented during her painting process in the studio—they have no counterparts in the real world. Her landscapes bear no sense of the passage of time, no markers of change, no suggestions of narrative. Instead, she is concerned exclusively with juxtaposing the power and fragility of the landscape itself. By incorporating landscape elements that are remembered, imagined, abstracted, and synthesized— borrowing heavily from the familiar vocabulary of the ideal landscape in art history—she hopes to offer each viewer the opportunity to enter into the quiet solitude of her painted vistas and to achieve a sensation of dream-like reverie and resonance.

Jite Agbro

Jite Agbro is multi-disciplinary artist from Seattle, Washington. Her colorful figurative work integrates layered patterns, sharp contrasts, and fabric-like textures. Ranging from mixed media work to large-scale installation and murals, Agbro’s creative practice investigates the ways old and oppressive systems endure and are replicated through collective practices and rituals. Her work acknowledges how various symbols of status like clothing, accents, manners, even citizenship and lineage, are deployed to protect and preserve our identities. Simultaneously, Agbro interrogates these status symbols as tools that can perpetuate social hierarchies. She invites us to unpack the self-imposed and unexamined rules that dictate how we approach the world.

Susan Bennerstrom

Since the early 1980’s, Bennerstrom has developed her passion for the exploration and depiction of light. Structures and objects are stage sets for light with its transformative power and ability to affect emotions. Light and shadow imply the narrative and carry the emotional weight in her paintings. Raised in a strict religion that denied the reality of the physical world, she was taught that pain and sensual joy were moral failings. However, Bennerstrom was in love with the world in front of her and made a sharp turn away from her religious upbringing and toward an investment in the richness of her senses and her own painting practice. Themes within her practice reflect her early childhood by delving into the fragility of life, the flimsiness of the veil between reality and imagination and all that we cannot know. She sees light as the connective tissue between these worlds.

Lisa Gilley

Lisa Gilley is a native Washingtonian. She spends her time between her Marrowstone Island farm on the Olympic Peninsula and her place in Ridgway, Colorado. In the last decade, Gilley began focusing her work on National Parks and Monuments, wilderness areas, and lands seeking protection under different Wilderness Acts to bring awareness to their fragile existence and works on an ongoing basis with many wilderness, river and salmon protective outlets. In 2015, Gilley was honored by Artist Trust of Washington with a Grant for Artist (GAP) award for her paintings documenting the Snake River and its surrounding tributaries. The National Parks Service has honored Gilley with art residencies at Grand Canyon National Park (2016), Zion National Park (2017), and Capitol Reef National Park (2019).

Golden Hour, oil on panel, 40 x 60 inches, $14,000.00

(Grand Ronde River, WA/OR border)

Tyson Grumm

Grumm’s paintings invite us into a parallel world where fantastical animals come alive and eccentricities are born. His images appear as if freeze-framed from a surreal film, so rich and full of narrative, we catch only a moment of a much larger story yet to be told. Grounded in a hint of the commonplace – a recognizable object, a conversant glance between two figures, a charming nostalgia – Grumm uses these familiarities as a point of connection and departure. A boat becomes a backpack, a chair is fit for a bighorn sheep, a ping-pong table hosts a match between an ostrich and a beaver, a rocket ship reveals a rhino. Created entirely in the mind of the artist, his figures often hold historical significance, appearing to be both characters and caricatures, distinctive and unusual. These colorful and unique works engage our imagination in endless possibilities, leaving behind breadcrumb clues to a path only traveled along by dreamers.

Brothers of the Sound (S7-7A The Thinker), acrylic on foundry mold, 19 inch diameter, $4,500.00

The Depthsman, acrylic on foundry mold, 15 inch diameter, $4,000.00

Meg Holgate

Meg Holgate, a painter originally from the East Coast, has made her home in the Pacific Northwest for the past 27 years. Raised in both New York and London, her childhood was spent drawn to the parallel universes of the old masters and the more contemporary works of the mid-century modernists. By the time she was 12 years old she knew she was an artist and could be found wandering the halls of some of the cities’ greatest museums. Years later she would support herself and her three children with a successful career in decorative art; painting murals and trompe l’oeil for clients from New York, Florida, Idaho and Washington. In 2006 Holgate had her first solo show in Seattle, setting off the next 20 years of artistic exploration.

Lynda Lowe

Lowe’s body of work ranges from recognizable likenesses to entirely abstract terrains. She has a cultivated interest in archetypal and metaphorical associations and approaches image-making with both careful study and investigation and with unplanned intuitive interaction. Her many-layered paintings incorporate an interplay of text fragments, spontaneous marks, diagrammatic figures, open areas of eroded color, and highly rendered recognizable images. This combination is intended to engage various mechanics of perception – empirical, rational, relational, intuitive, abstract, and symbolic. Some inclusions are so small and subtle as to be seen only with closest examination and suggest the quantum world underlying all experience. Consistent through all of Lowe’s work is a meditative aspect that speaks to the intersection between the physical world and the mysterious unknown. She proposes that no thought or thing is utterly passive or inert but charged with complex content and a sentient presence.

Meredith Pardue

Born in Monroe, LA in 1975, Meredith Pardue is an acclaimed contemporary artist whose work is widely recognized for its sinuous compositions of abstract forms evocative of botanical and geological elements. Upon earning a B.F.A. in Painting with an Art History minor from the Savannah College of Art + Design in 1998, Pardue traveled extensively across the U.S., drawing inspiration from the varied regions and coasts of the South, Southwest, Pacific Northwest, and Northeast, as well as France and the Caribbean. After completing her M.F.A. in Painting in 2003 at Parsons School of Design in New York City, Pardue accepted a full-time faculty position at the University of Louisiana at Monroe, where she taught both studio and art history courses in the Department of Fine Arts. In 2006 she left the university to devote herself entirely to the cultivation of her work.

Danny Perkins

Danny Perkins has been working with the dichotomies of color and form for more than 35 years now, first as an internationally renowned glass artist working in three-dimensions and now as a painter.

Perkins’ paintings have a conversation with the tradition of Abstract Expressionist color field work, which believes that in the absence of suggested or referential forms the expressive power of color can be more fully understood. Whether we are consciously aware of it or not, color holds emotions, memories, cultural significance and experiential associations. In working with color as his primary subject, Perkins hopes that his paintings compel the viewer to journey into their own internal, emotional selves. In a world that often feels chaotic, he is drawn to creating a sense of order, seen through the use of a horizon line, which also gives the viewer an accessible entry into the work. Important to Perkins in his abstractions is communicating drama, action, and hope, always hope.

Alfredo Romero

Mexico-based, Alfredo Romero, creates an artistic conversation between social memory, ephemeral architecture, advertising signs and the passage of time. Through the strappo technique, used by anthropologists and archaeologists, Romero detaches and restores mural paintings on the façades of old walls throughout cities in Mexico. Often deteriorating or having been painted over several times, buildings have old advertisements, public announcements, political slogans and graffiti. These decaying facades are seen throughout Latin America in cities and small towns and have become an identifying feature of the culture. Vestiges of neighborhood mom and pop shops that have slowly disappeared with globalization and were once an integral part of a tightly-knit community. Romero begins by getting to know the people in the area very well. His project gives the locals a voice by listening to the previous generational stories and creating artwork that encapsulates the timelines of these communities from the last half century that otherwise would disappear.

Future Cities, Cartographies of Memory, strappo & mixed media on canvas, 47 x 47 inches, $11,500.00

Metropolis of Memory, strappo & mixed media on canvas, 38 x 58 inches, $10,000.00

Richard Royal

Richard Royal is recognized internationally as one of the most skilled and talented glassblowers in the studio glass movement. Having spent his early years as a ceramicist, he began working as a glass sculptor in 1978 at the Pilchuck Glass School. His work with Chihuly lasted for many years and in the 1980’s led to Richard Royal’s emergence as an independent force in the art market.

The Geometric Series is Royal’s latest exploration delving into the theory that all things have a geometric significance or a mathematical sequence. If you break objects down, eventually you will find a geometric structure in the essence, and often this sequence builds upon itself. Royal’s vision is to create organic sculpture using rigid components to portray this concept of growth and clarity in form. When he first began this series, it was very direct in the replication of color and form and as it has evolved the sculpture became more dynamic with compositions and surface treatments of the elements.

Anne Siems

Celebrated for her explorations of the human spirit through beautifully rendered figures, Anne Siems paints with an eloquence and mastery that is a testament to her range as an artist. Siems’ current subjects explore tattoos as a signal of inner wildness, pronouncing their stories, fables, mythical belonging, and rites of passage. Her figures are smart and creative, and they have something to say. They speak of freedom of expression and of a deep connection to the universe.

Siems was born in Berlin, spent formative years in Buenos Aires, and later attended the University of the South in Tennessee. After completing her MFA at the Hochschule der Kunste in Berlin, Siems settled in Seattle, where she currently lives and works. Anne Siems work has been shown in a myriad of solo exhibitions and her work can be found in collections spanning the globe.

Listening, acrylic on panel, 60 x 36 inches, $13,500.00

Terry Turrell

Terry Turrell is an artist of delicate hand using unconventional, often recycled materials to create a beautiful edginess indicative of his Northwest roots. Drawn to art his entire life, Turrell’s innate ability to transform the ordinary or overlooked is as unique as his style. Working intuitively, Turrell creates work that is both innocent and confrontational. His work can easily be defined as the perfect imperfect.

A self taught artist, Turrell’s work is distinguished not only by his highly textural surfaces, but by his remarkable range of subject matter and materials. Creating imagery that is most often figurative in nature, the artist favors both painting and sculpting equally, often working within the two mediums simultaneously.

the Run,

Deloss Webber

Deloss Webber’s connection to his art begins first with his deep connection to the environment. His sculptural works sometimes conceptual, sometimes abstract, are always immediate reminders of the beauty that is inherent in the natural world. Webber collects rocks of varying sizes and types choosing each one for its individual color, texture and markings. He then adds to the stone’s character by manipulating its surface and enhances it further by intricately weaving it in fibers such as cane, bamboo and reed. The fiber fits so seamlessly onto the body of the stone that it seems to have always been there. The language of the stone and the fiber thus becomes one.

Webber has had an ongoing interest in Japanese basketry. He learned rattan weaving from his mother while growing up in Northern Africa and Spain, and throughout his life has found constant nourishment in cultures and places beyond his own boundaries

(left to right)