Rockland Residency gives artists worldwide a free place to create in the CD

IMG_7490Seeing Seattle for the first time, imagining its possibilities and places to explore, is an experience that can evoke some serious inspiration. To help artists tap into that creative energy, a Central District couple have transformed a house they own into a free artist residency that has already attracted interest from around the globe.

The Rockland Residency was founded by local artists Shawn Landis and Jodi Rockwell in 2015. The 27th and Marion home, known as the Butterfly House, turns over to artists from February and April and is rented out as a regular residence the rest of the year. The “unmarried husband and wife team” developed the free residency program to offer space and time for artists to create and connect with the city.

“It’s a great way to share and gather artists together to give them space and time to create their work without the stress and strain of everyday life,” Landis said. “It is very critical for creative thought, to have that structure of support around you, and I wanted to give that back.”

Landis and Rockwell do not charge residents for the time they spend at the house. Residents can stay for two to four weeks, depending on their projects.

One of the most recent residents was Carla Bertone, a muralist from Buenos Aires, who stayed for two weeks in the architecturally distinct 1963 home, designed by renowned Seattle architect Victor Steinbrueck. During her time at Rockland, Bertone completed and presented a mural she installed, titled “Psychedelic UFO”.

“Their creative energy feeds me, knowing they are here producing work, it generates more of that energy,” Rockwell said. “That part surprised me, when it began, knowing someone was here really focused on their work, it inspires me.”

Along with a small group of artists, Landis and Rockwell choose residents from a wide gamut of applications. In its inaugural year, Rockland received 38 applications from 12 different countries. Selected to participate are writers and visual artists from New York, Finland, Buenos Aires, Mexico, and Texas. To commemorate their time, each artist is asked to design a flag to represent them, which Landis then sews and hangs from a flag pole outside.

As stated in their Mission: “The residency is open to anyone engaged in a creative process involving and not limited to: visual art, writing, music, performance and new media. Our goal is to share what we have established for ourselves in property and networking to link dedicated artists outside of the Seattle area to those within.”

“It pulls us out because we get to show off what our city has to offer, the connections we have from our fifteen years here,” Rockwell said.

To learn more about the residency, visit www.rocklandresidency.com.

Play set in Mexico and Seattle debuts in Xalapa, ready to stage on Capitol Hill

unnamed (6)A “physical theater” play set to open on Capitol Hill next week already had a bit of a warm-up run — in Xalapa, Mexico.

The RipCity Dance premiere of Seattle hits the stage here on April 29th, and 30th. The play takes place in both Mexico and Seattle — and is being toured through both.

“The play’s climax happens in Seattle, and its story is told through a time period when Seattle had an important place in the counterculture and in art and music, expressing messages about how to do things differently in the world,” Steven Ripley, the founder of RipCity Dance, tells CHS. “We use music from Seattle bands – Nirvana and Pearl Jam.”

Ripley’s vision for his one-year-old company comes from producing plays, workshops, and dance classes.

“We’ve used hip-hop, breakdance, groovy modern improv, gigong — the intention is to break the usual mold of what a dance class is, and to create a new type of community experience for families to share,” Ripley said.

Written by Adrian Vazquez of Los Tristes Tigres, and in partnership with Ethnofit Studio of Mexico City, Seattle is performed by Nancy Lopez Luna and Elia Mrak.

Each performance will be accompanied by an after-show discussion.

“Adrian’s play tells an astonishing story about the spontaneity of life and the creation of what we call destiny,” Ripley tells CHS. “Our lives are chaotic, with earthquakes and hurricanes and family traumas.  We don’t often have a grand sense of things.”

Tickets are on sale for the Friday, April 29th and Saturday, April 30th, performances at the Erickson Theater on Capitol Hill.

Pike/Pine’s Puzzle Break builds business on ’live-action’ games

“Welcome to the room. You have one hour to escape.” This mysterious introduction leads you into Puzzle Break’s brand new game, Escape the Midnight Carnival, which opened last weekend. Located in the studio spaces below 10th Ave, this unusual “live-action” game business has called Capitol Hill home since debuting in 2013.

The idea for the new puzzle came from the company’s “Chief Creative Officer,” Lindsay Morse. “We agreed to do no clowns,” said Nate Martin, CEO and co-founder.

Using a broad range of themes, Puzzle Break’s games are designed to each be their own world, a niche experience, like walking into a period piece. Their last puzzle, a nautical themed adventure titled Escape from 2,000 Leagues, is still open for playing.

“Our chief creative officer has a huge number of themes, and when it becomes time to open a new room, we sit down and see what we are feeling, what kind of puzzles we can shape to an overall theme, so when you are solving a particular puzzle it feels appropriate and it furthers the story of the theme,” Martin tells CHS.  This attention to detail is what makes the game work — and now you’ll know more about bugs and Mayan mythology than you ever thought you would.

Down the ramp to Puzzle Break (Image: Kate Clark via Flickr)

Down the ramp to Puzzle Break (Image: Kate Clark via Flickr)

CHS first reported on Puzzle Break in 2013 as the small company from a product manager at Electronic Arts and a visiting assistant professor, Classics at the University of Puget Sound, began its venture dedicated to “designing and tuning puzzles and environments.”

Puzzle Break has now been in operation for three years. The first puzzles were bootstrapped, the co-founders sourcing much of the tools and props from thrift stores, creatively making ends meet. But, as they soon found out, people love puzzles. Their popularity continues to grow, and tickets often sell out for weeks in advance. From 2014 to 2015, Puzzle Break’s revenue increased 270%, with over 20,000 players and counting, the company touts. Tickets run $30 per person and group sales are a big part of the business. The strong financials have allowed Puzzle Break to research and create increasingly sophisticated and intricate puzzles.

Many of the puzzles in the new game were designed and built through a partnership with SoDo MakerSpace. Laser cutting, 3D printers, and beautiful craftsmanship made the puzzles and props authentic and charming.

Escape the Midnight Carnival, which involves multiple types of beetles, the Mayans, and a gaggle of codes to break, continued to gain more and more depth as we played it, the game revealing new layers of detail and plot as discoveries were made. Similar to learning the method and language of a crossword puzzle, you get better at it the longer you play. Teamwork is critical, communication is key, and you must beat that clock.

Puzzle Break Seattle is located at 1423 10th Ave. To find out more and buy tickets visit puzzlebreak.us.