James Harris Gallery: New space, same focus

James Harris has been thinking big in a small space since 1999, when he opened the James Harris Gallery in a few little rooms on the edge of Pioneer Square. Last night, the gallery reopened in new digs. It's still not huge, but at 1,800 square feet, it's almost twice the size of its former self.

So what has Harris done in this place that, before renovation, was like a bowling alley? Well, he's created small spaces that will allow him to continue to think big.

The original James Harris Gallery had one main room for showing art, with an open countertop office at the front and some cramped spaces in the back for storage and a bit more exhibition room. Despite, or perhaps because of, these small spaces, Harris consistently presented formidable art.

The limited number of works that could be shown at any given time forced Harris to choose artists and individual works of art very, very carefully, particularly since he represents local artists but also keeps his eye on the national and international art scenes. The small shows have been conceptually and visually remarkable and have established the gallery as a force for identifying and supporting cutting-edge artists.

The new gallery is just a block away, in a beautiful old building with a turn-of-the-century keystone arch over the façade of windows. A few days ago, taking a break from hooking up computers and hanging art, Harris and gallery director Carrie Scott gave me a tour. The new space feels bright and airy, with high ceilings and fresh white walls that allow occasional glimpses of the exposed brick and beam that were once visible everywhere.

There are big improvements here: more efficient storage, more offices and more wall and counter space for showing work. But, when renovating the new space, with the help of designer Tova Elise Cubert, Harris wanted to re-create several key structural elements of the old gallery: a welcoming office space up front; a smallish main exhibition gallery; and additional, smaller exhibition spaces.

So, why — with the potential for a completely new floor plan — create these smaller spaces? Likening the size of one gallery to a "bedroom," Harris believes that smaller spaces create a more intimate viewing experience. And, when you have room to show only three or four works by an artist, those works "have to really hang together and communicate what the artist is trying to convey."

As opposed to one large space, multiple smaller spaces allow the gallery to engage in "pairing, networking and making connections," terms that Harris uses to describe his goal of bringing top-notch artists of different levels of recognition together in order to generate local and national interest.

The two shows that inaugurate the new gallery are a perfect example of this. Four video works by Gary Hill, shown through an agreement with Hill's dealer, Donald Young, are debuting here along with new photographic work by Margot Quan Knight, who is one of the talented young artists represented by Harris. In this pairing, Hill is clearly the big name, having been internationally applauded for more than two decades.

At the same time, Quan Knight has garnered attention both nationally and internationally, and both artists do not show in Seattle as much as Harris would like. Harris hopes this pairing will bring increased local awareness of the developments in both artists' careers, while promoting local artists, such as Quan Knight, beyond Seattle.

The two artists are aptly paired in terms of concept and form. Quan Knight's smart, visually haunting photographs — here, transferred onto reflective surfaces — connect with the strong, moody look and the exploration of presence and absence that characterizes Hill's digital and video work.

According to Scott, this curatorial coupling exemplifies the gallery's goal to choose shows that will "reverberate" with each other. The other little exhibition spots, tucked here and there throughout the space, allow even more options for amplifying different themes and forms. A few carefully chosen sculptures will sit on a back counter, and artists' editions will be on display in a hallway.

Despite his obvious excitement, Harris has mixed feelings about leaving his first gallery. After all, "a lot of love went into that space." But, Harris quickly adds, "it's time for a change, and I think the change will be good not only for the gallery artists but for Seattle."