Only a few blocks from Seattle University, SOIL Gallery stands as one of the city’s oldest artist-run nonprofit spaces. Founded in 1995, SOIL has built a reputation for bold

experimentation, collaborative curation and a commitment to showcasing underrepresented voices. With a rotating membership of roughly 20 artists, the gallery operates on a consensus-based model. All members take part in voting and selecting every piece of art or action taken by the gallery. 

“We are a non-hierarchical structure, so we don’t have titles—simply just members.”

Margie Livingston, a 26-year member of SOIL gallery, said. 

Artists have the freedom to transform the gallery space with few restrictions beyond those related to safety. The gallery welcomes all mediums, including those that are unconventional like beeswax and corn husks. Exhibitions are selected through a two-step voting process: members review proposals individually, then meet to discuss and vote together. A two-thirds majority determines which shows move forward. 

Each artist is drawn to work that interests them in some way. Livingston shared that when reviewing proposals or choosing work to exhibit, she’s especially pulled to pieces that feel unfamiliar or provoke a visceral reaction.

“I’m really drawn to work that I haven’t seen before… that maybe makes me nervous,” Livingston said. 

This instinct reflects SOIL’s ethos of experimentation and risk-taking. Livingston emphasized that the gallery’s openness allows artists to push boundaries. Members range from painters to performance artists, and the gallery’s ethos encourages cross-medium dialogue.

“It’s inspiring to see how you can make things bigger than yourself happen, with the help of other people,” Member Artist Sofya Belinskaya said.

Belinskaya recently exhibited a solo show titled “It Becomes a Mountain,” which used watercolor and a limited palette of reds and blues to explore the metaphor of the hole—a symbol of fear, desire and ecological grief. The exhibit was inspired by the Berkeley Pit in Butte, Montana, a former open-pit copper mine that is now filled with highly acidic, toxic water and designated as a Superfund site for environmental cleanup. The work reflected on how environmental transformation can mirror emotional depth.

Two exhibitions opened at SOIL last month, both ran from Oct. 2 to Nov. 2, 2025. “Heartwood,” curated by Colleen RJC Bratton, explored the intelligence and interdependence of trees. Featuring artists like Grace Gonzalez, Yell Freeman and Belinskaya, the show draws parallels between forest ecosystems and human collaboration. One standout piece, “The Way I Feel in the Fig Tree Cave,” was created using colored pencil and goldrite on paper.

“Of the Land,” housed in SOIL’s backspace, brings together international artists including Arpita Akhanda and Ravi Agarwal. Through installation, film and performance, the show examines ecology and identity in the face of extractive histories. 

SOIL’s reach extends far beyond Seattle. Member Genevieve Tremblay highlighted recent international collaborations, including exhibitions with artists from Mexico City and Chile, such as a water-themed show comparing urban development across regions. SOIL members have also traveled to install work abroad, including at the Mexico Biennale, known as “Bienal Tiempos de Muralismo.” 

Seattle U alumna Madi Stephens interned at SOIL during its 30th anniversary year, contributing to the gallery’s catalog and gaining mentorship in design and curatorial practice. She and artist Amyia Chea-Caroll have an exhibit open through Nov. 23 at the Vachon titled “Through Ashes, a Garden.” Internships are currently volunteer-based, but SOIL is seeking grant funding to offer honorariums. 

“Madi approached every challenge with positivity, adaptability and grace… her success reaffirmed how meaningful these partnerships can be,” Tremblay said.

Membership at SOIL is not permanent; artists may leave and reapply, with voting determining reentry. A recent grant from 4Culture supported the creation of a visual archive mapping SOIL’s membership over time. Larger spheres represent long-standing members, while smaller ones mark newer additions.

SOIL continues to thrive as a space where artists challenge norms, build community and explore new forms of expression. For Seattle U students interested in arts leadership, curation or creative collaboration, SOIL offers opportunities in many ways. Tremblay welcomes direct outreach from Seattle U students interested in internships at SOIL. Contact her through her email, [email protected],or the primary outreach email on the SOIL Gallery Website, [email protected].