September 5 - 27, 2025
Together on the Dark Shore: Trevor Grabill, Yve Holtzclaw, Hank Mattson

“Together on the Dark Shore began as an exploration of death, instability, and loss. Each of these states represents an edge - a long shore between one place and the next. These changes are inevitable, even universal, and yet in grieving we are often isolated. Only by looking together into the place where two things meet can we prepare - as much as anyone can prepare - to traverse the landscape of the future. Through camaraderie and community, we may gain a sense of agency within the uncontrollable.

The pieces in this show contend with unraveling and uncertainty. There are bad omens, nostalgic memories, moments of grief and doubt and fear and violence. Friends and lovers and pets are lost, ghosts are encountered, disasters are suffered. But within these struggles, there is also clarity, tenderness, and healing. In the depth of pain, we often want most to put our suffering behind us - but in this show we try to celebrate every step in the cycle. Each trial can lead to healing; each love contains the seed of its own end. We invite you to join us in standing together in the space between hope and despair.”

Inventory:

1. Yve Holtzclaw, Iron & Calcium, clay, house paint, red iron oxide, pigment, chains, 34” x 18” x 16”
2. Trevor Grabill, Last We Met, woodcut, 7” x 8”, SOLD
3. Trevor Grabill, Last Prayer, woodcut, 8” x 6.5”
4. Hank Mattson, Persistent Bleeding Weapons, linocut, 12” x 20.5”
5. Yve Holtzclaw, Frisco, clay, glaze, 14” x 14”
6. Hank Mattson, Massacre of the Innocents, linocut, 24” x 18”
7. Hank Mattson, Never Ending Story, color woodcut, 24” x 18”, 
8. Hank Mattson, On Holy Grounds, woodcut and linocut, 24” x 18”
9. Hank Mattson, To Not Know, linocut, 14” x 11”
10. Hank Mattson, Collapse, gypsum with acrylic and block printing, 36” x 16” x 16”
11. Hank Mattson, Loneliness, color woodcut, 9” x 12”
12. Trevor Grabill, An Old Friend, Walking Away, woodcut with found object, 7”x5”, NFS
13. Yve Holtzclaw, E Pluribus Unum, clay, glaze, 26” x 12” x 12”
14.  Hank Mattson, No Telling, color woodcut, 16” x 20”
15.  Trevor Grabill, Memento, reduction woodcut print, 7” x 6”, NFS
16.  Yve Holtzclaw, Grapple, clay, glaze, 43” x 34” x 15”
17.  Yve Holtzclaw, Cuervo, clay, glaze, 14” x 14”
18.   Trevor Grabill, One bad morning you may wake to find there is nothing left to destroy but yourself, woodcut print, 42” x 29”
19.  Yve Holtzclaw, untitled, clay, glaze, 14” x 14”
20.  Trevor Grabill, Unraveled, woodcut print, 15” x 11”
21.  Hank Mattson, Springtime Cry, color woodcut, 20” x 16”
22.  Hank Mattson, Giving It Away, color linocut, 14” x 11”
23.  Hank Mattson, Taking Flight, gypsum, acrylic, block printing and wood, 36” x 16” x 16”
24.  Hank Mattson, Aching Hands, color linocut, 11” x 14”
25.  Trevor Grabill, The Fading Light, woodcut print with ceramic sculpture, 15.5” x 12” x 4”, NFS
26.  Trevor Grabill, Far From Shore, reduction woodcut print, 13” x 16”, NFS
27.   Yve Holtzclaw, Cisco, clay, glaze, 14” x 14”
28.  Hank Mattson, Looking Back, screenprint, 14” x 11”
29.  Trevor Grabill, Rainy Street, woodcut print, 15” x 12”
30.  Hank Mattson, Between Homes, color woodcut, 11” x 14”
31.  Yve Holtzclaw, Constellation Disc, clay, glaze, 14” x 14”
32.  Yve Holtzclaw, Constellation Disc, clay, glaze, 14” x 14"
33.  Yve Holtzclaw, Constellation Disc, clay, glaze, 14” x 14”
34.  Trevor Grabill, Moon Weeps for Poisoned River, ceramic sculpture with found objects, 12” x 6” x 4”
35.  Yve Holtzclaw, Years to Know Oneself, clay, glaze, 18” x 7” x 7”
36.  Trevor Grabill, Suspicious World, ceramic sculpture, 5” x 3” x 3”
37.  Yve Holtzclaw, Corner Time, clay, glaze, 12” x 5” x 6”
38.  Hank Mattson, Always with Me, gypsum, acrylic and block printing, 16” x 14” x 15”, NFS
39.  Yve Holtzclaw, Temperance, ceramic, glaze and yarn, 43”x19”x14”
40. Yve Holtzclaw, Free Treasure, ceramic, glaze, 42” x 15” x 6” 
41. Yve Holtzclaw, Playing Dead, clay, glaze, 26” x 5” x 5”
42. Yve Holtzclaw, Homesick, clay, glaze, 8” x 5” x 4”, SOLD
43.  Trevor Grabill, Holding on to Something Hollow, ceramic sculpture with found objects, 6” x 6” x 3”
44.  Yve Holtzclaw, Angels, clay, glaze, 17” x 15” x 5”, 
45.  Trevor Grabill, Let no fellow wanderer be a stranger, woodcut print, 16” x 20”
46.  Trevor Grabill, Still in the Room, woodcut print, 30” x 21”
47.  Hank Mattson, The Other Side, color woodcut, 14” x 11”
48.  Yve Holtzclaw, Good Boys, clay, glaze, 32” x 24” x 10”
49.  Hank Mattson, Time For Rest, color woodcut, 9” x 12”
50.  Trevor Grabill, We Grow Together, woodcut print, 8” x 6.5”, SOLD
51. Trevor Grabill, When We Became the Undergrowth, reduction linocut print, 12.5” x 14”
52. Trevor Grabill, Bittersweet, reduction woodcut print, 20” x 16”
53.  Trevor Grabill, We Sat in the Garden, woodcut print, 10” x 8”
54.  Yve Holtzclaw, Neighborly, clay, glaze, 16” x 10” x 7”
55. Trevor Grabill, Dark Was the Night, reduction woodcut print, 12” x 15”
56.  Trevor Grabill, Follow Me, reduction woodcut print, 10” x 9”, NFS
57.  Hank Mattson, Life Returning, color woodcut, 16” x 20”
58. Trevor Grabill, In these waning days all we have is each other, woodcut print, 21” x 19”
59.  Trevor Grabill, Return to Life (at the Superfund Site), woodcut print, 11”x8”
60. Trevor Grabill, Peace Process, woodcut print, 8”x6.5”, SOLD
61.  Yve Holtzclaw, Strength, clay, glaze, 34”x20”x10”

---

Trevor Grabill, Peace Process, woodcut print, 8”x6.5”

About the Artists:

Trevor Grabill
I grew up in small towns in Central and West Michigan, and the landscape of that region (both physical and spiritual) is the foundation of my work as an artist. After graduating from Central Michigan University with a BFA in Graphic Design, I lived for a while in Minnesota and Wisconsin, eventually finding my way to Kalamazoo, Michigan. Currently, I am an educator at the Kalamazoo Institute of Arts and spend most of my time in my home studio. Mostly I make woodcut prints, and through that medium I explore the beauty, strangeness, and shadow of the Great Lakes region.

When we began work on Together on the Dark Shore, I found myself looking into the shadow from an arm’s length. I think I expected to wrestle with depersonalized, hypothetical emotions (for example, looking at the way one might feel about climate change), but as I sat with this subject matter, more and more of myself surfaced. I found that in order to have anything to say, I had to bring my whole self to the conversation. The result is a much more personal body of work than I’d imagined at the outset. It’s a collection that leaves me feeling both vulnerable and connected - I’m grateful for the opportunity to share it with you here.

Many thanks to my collaborators, my studio mates, and my spouse.

Yve Holtzclaw, Free Treasure, ceramic, glaze, 42” x 15” x 6”

Yve Holtzclaw
I am a genderqueer artist and educator from Atlanta, Georgia. Since graduating from Massachusetts College of Art and Design with a BFA in ceramics and art history I have completed a residency in ceramics at the Kalamazoo Institute of Art. I currently reside in Missoula, Montana where I am a resident artist and instructor at the Clay Studio of Missoula. Through clay portraits, I am interested in depicting beings who often blend into domestic landscapes - our pets, our pests, our homes, and our rivers - exploring the intricate enmeshment of the built and grown environment. My work is rooted in drawing and my sketchbook is filled with comics that channel my experiences into stories to help me make sense of my changing world. These works are derived from those drawings, dealing with self doubt, fear, loss, and fault. I often question how to best care for myself and the people I love; I consider the blurry nature of codependence, stewardship, and caretaking in these works. 

​

Hank Mattson, Springtime Cry, color woodcut, 20” x 16”

Hank Mattson
Originally from Southern California, I moved to Michigan to do a printmaking residency at the Kalamazoo Institute of Arts, where I am now faculty for the drawing and painting department. I earned my BFA in Studio Arts from Northern Arizona University. It was there that I began my studies in sculpture, oil painting, and printmaking. Since that time, I have oscillated between these disciplines, allowing each season of making to inform the next. My current body of work revolves around block printing, my recent sculptures taking on movement, texture, and pattern through block printed collage. Art, for me, has always been a means of reinterpretation through personal imagination. I observe the world closely, but find my best work emerges from memory, where observations are transformed through drawing and personal association. 
​
Together On the Dark Shore began as a general want to tackle heavy subject matter with nuance and optimistic solidarity. That artistic desire comes naturally to all three of us, I believe, and was a way to tie our work together. Buckham accepted our proposal and scheduled our exhibit two years in advance. Very soon after, that general want became an imperative, not only politically, but very much personally. I spent all of 2024 in the midst of a totally unforeseen divorce while situations globally appeared increasingly more dire. The crumbling of all of life’s comforts and precedents that accompany the end of a marriage and the necessity to face each new struggle deliberately with honest communication had a huge impact on the body of work I produced for this show. Shock gave way to action, to depression, to reflection, and ultimately the consolation of rebirth as I continued daily into the unknown. My artworks are individual markers along that path, each one a vehicle for my catharsis.