Unprecedented: The Inaugural Postmark Biennial
Postmark Center for the Arts, Auburn WA, USA
July 23rd to October 9th 2025
Curated by Ellen Ito and Jabari Owens Bailey
Lee’s Summit
2025
Halftone print on paper, framed.
27-½ x 39-¼ in.
Eight Years of Inscape AiR: Resistance and Belonging out of the Historic Immigration Building
ARTS at King St Station, Seattle WA, USA
June 5th to August 9th 2025
Curated by Tara Tamaribuchi
Eight Years of Inscape AiR: Resistance and Belonging out of the Historic Immigration Building brings together alumni of the Inscape Artist-in-Residence program that took place from 2016 to 2024 at Inscape Arts, the studio building that was the Seattle immigration and detention center for 80 years.
Clockwise, from top left:
None Detected, 2025
Halftone monoprint on canvas. A crop of my US immigration Tuberculosis X-Ray examination , with my arms raised.
Visible Scars, 2023
Halftone monoprint on canvas. An enlargement of marble in the floor directly outside my studio during the residency, which reminded me of the lines on my palm. ‘Visible Scars’ is an biometric identifier used throughout Homeland Security processes.
Lee’s Summit, 2023
Halftone monoprint on canvas. During my residency at the former Immigration administration and detention center, I received notice of my citizenship approval in this envelope. To near the end of that process in that space was an intense experience. Thinking about the history of the INS building, I noticed the ‘from’ address on the envelope, with its clear reference to the American Civil War, and contemporary parallels with the actions of Missouri politicians in the build up to that conflict.
Partial Print, 2024
Halftone monoprint on canvas. A partial thumbprint, fingerprinting has been central to my experience of state biometric identification and tracking.
an accumulation of time and silver
Werkshack Gallery, Oakland, California, USA
May 3rd to June 30th 2024
Pete Fleming, Allyce Wood
Pete Fleming and Allyce Wood use unique material languages to consider their place in time, spiraling and returning through careful observation. Each piece speaks to the lineage of their creative traditions and lived experiences through layers of thread and careful photographic print techniques. Portals and fields, shifting shadows and hanging mists, speak to deep feelings and looping seasons.
Smart Objects / Flattened Images
Well Well Projects, Portland OR, USA
September 3rd to 25th 2022
Curated by Kelda Van Patten
Left to right:
Screen Grease 11, UV direct print on raw canvas, sealed with matte medium, 28 x 42 in.
Screen Grease 13, UV direct print on raw canvas, sealed with matte medium, 28 x 42 in.
Screen Grease 12, UV direct print on raw canvas, sealed with matte medium, 28 x 42 in.
And so it goes
The En_, Seattle WA, USA
June 25th to July 30th 2022
Pete Fleming, Allyce Wood, Tim Marsden, Christian French
Left to right:
Screen Grease 12, UV direct print on raw canvas, sealed with matte medium, 28 x 42 in.
Screen Grease 14, UV direct print on raw canvas, sealed with matte medium, 28 x 42 in.
Screen Grease 13, UV direct print on raw canvas, sealed with matte medium, 28 x 42 in.
Screen Grease 11, UV direct print on raw canvas, sealed with matte medium, 28 x 42 in.
I have a deep nostalgia for the future
Charlotte Street Foundation, Kansas City, Missouri, USA
November 12 2021 - January 8 2022
Emmy Skensved, Pete Fleming, and Richard Alexandersson
Left to right: Emmy Skensved, Richard Alexandersson, Pete Fleming
The exhibition “I have a deep nostalgia for the future” brings to Kansas City three early career artists based in the major European art centers of Oslo, Norway, and Berlin, Germany. Richard Alexandersson (Oslo), Pete Fleming (now Seattle), and Emmy Skensved (Berlin), all explore their relationships to digital networked technology, and its emotional and aesthetic affects. The exhibition includes the works domain(A Conglomeration of Spheres) by Alexandersson, the works Common Ground and Shelter of Presence by Skensved, and the Screen Grease series by Fleming.
A side-step, a reflective glance
Babel Visningsrom for Kunst, Trondheim, Norway
19th to 28th October 2018
Pete Fleming, Daniel Vincent Hansen
Hydrodynamics
Studio 17, Stavanger, Norway
12th to 24th April 2018
Curated by Mirja Majevski
Leah Beeferman, Pete Fleming, and Ragna Misvær Grønstad
The international group exhibition Hydrodynamics features work by Leah Beeferman, Pete Fleming, and Ragna Misvær Grønstad. The artists, inspired by oceans and forces acting upon and exerted by water, deploy various techniques and mediums to examine the latent potential of hazy edges and enquire into the limits of representation.
The video installation Getting Pulled in While Being Thrown Out, Old Traps Disperse Though New Forms by Pete Fleming, also scrutinises the material condition of seeing though the use of image technology. Hypnotising footage of a jellyfish – the oldest multi-organ species on the planet, and that which appears to be most fit to survive and prosper in warming oceans – is screened though a deconstructed projector lens. While the film’s meandering monologue ponders what the point of seeking direction might be, the out-of-focus projector — recalibrated by hand — reveals the way in which lenses organise light into constructed vision: a chosen perspective.
You could call it complexities and uncertainties, with openings
Analog LX, Praça do Príncipe Real 19, Lisbon, Portugal
2nd to 11th March 2018
Underwater 35mm photographs digitally scanned and printed on silk, 5 sculptures in PVC, Plexiglass, steel.
Two rooms, prints suspended from ceiling each 120x165cm (47x65"). Sculptures each ø2cm x 300cm long (ø3/4" x 118").
The installation You could call it complexities and uncertainties, with openings (2018) shown at Analog LX, Lisbon, emphasized the material and object collaborations of intra-active digital images. Featuring large digital prints on silk of underwater analog photography, the images intertwine the optical refraction and movement of water, the action of the camera, printer, and the scanner, the weave of the silk, and the bodies both myself and distant silk worms. When digitally scanning the negatives at very high resolution, the jagged edge of the film panel and the dust on the scanner were revealed. These details, usually excluded by photographers as problematic blemishes, became a motif for the agency of uncertain objects. I subsequently extrapolated the enlarged forms of the dust into sculptures that seem to be stretching, wriggling, and seeking. As a symbol for everything and nothing at the same time - the earth, mortality, and waste matter - dust unravels in many directions. What is it? Where is it from? Is it human?
Here & Not
Atelier Nord ANX, Oslo, Norway
1st to 25th June 2017
Richard Alexandersson, Pete Fleming, Jessica MacMillan
The installation Getting pulled in while being thrown out, old traps disperse through new forms (2017-2018) combines experimental optics with the metaphorical figure of a jellyfish to explore different ways of constructing and relating to realities.
I recalibrated an out-of-focus projector by hand using various glass and plastic elements. My intention was to reveal the historical perspective of imaging technology as an active participant in constructing the world, and to question optical notions of clarity. While thinking about this process I filmed jellyfish underwater. I combined that footage with a meandering sequence of subtitles and the resulting video is then projected through the complex installation of lenses. The subtitles are my own thoughts, but they could be misinterpreted as those of a jellyfish. "What use is direction? / I move only ever outwards / from a space / a form / a time / to another." The oldest multi-organ species on the planet, jellies are prospering in the warming oceans. Perhaps the jellyfish is a excellent metaphorical figure for our time, a successful symbol for undefined knowledge in the Anthropocene.
You could call it complexities and uncertainties, with openings
Nordic Anthology, Fotogalleriet, Oslo, Norway
12th to 21st May 2017
Underwater photographs digitally scanned and printed on silk, hairs, dusts, paths, worms, conduits, tentacles, digits, grasping, reaching, pointing
sub-merged interruptions, a way with things, things having a way, returning and re-turning
it slipped somewhere