History
DeLeva started showing work in 1984 and participated in selected group exhibitions all over the United States. Past exhibits Confluence Gallery.org
| * | SOLO |
| 2016 | 13 Abstracts, Auburn City Hall, Auburn, WA. |
| 2015 | Compartments, US bank Seattle WA. |
| 2009 | Corridor Gallery, Tashiro Kaplan Building, Seattle, WA. |
| 2007 | Corridor Gallery, Tashiro Kaplan Building, Seattle, WA. |
| Changing View, Auburn City Hall Gallery, Auburn, WA. | |
| 2006 | Sharpe Angles, Edmonds Public Library, Edmonds, WA. |
| 1997 | Northwest College of Art, Poulsbo, WA. |
| 1991 | Geometric Signs, Waterfront Gallery, Peoria, Il. |
| * | SELECTED GROUP EXHIBITIONS |
| 2024 | 32nd Annual Art Auction, Museum of Northwest Art, La Conner Wa. |
| 2023 | Techina , Confluence Gallery Twisp WA. solo room |
| Dark Skies, confluence Gallery, Twisp WA. | |
| Inspired, Confluence Gallery, Twisp, | |
| Museum of Northwest Art, Auction 2023, La Conner WA. | |
| 2022 | Opposite of Entropy, Confluence Gallery, Twisp, WA. solo room |
| Museum of Northwest Art, Auction 2022, La Conner WA. | |
| Biophilia, Confluence Gallery, Twisp, WA. solo room | |
| 2021 | Color Riot, Annual 10x10x10 , monochrome, Tieton, WA. |
| In The Company of Crows and Ravens, Confluence Gallery, Twisp, WA. | |
| 2020 | 14th Annual Holiday Mini Art Exhibit, Ghost Gallery, Seattle, WA. |
| 2019 | 13th Annual Holiday Mini Art Exhibit, Ghost Gallery, Seattle, WA. |
| 2018 | 2018 Benefit Art Auction, Artist Trust, Seattle, WA. |
| 2017 | Vision en Rouge, Confluence Gallery, Twisp WA. |
| “10x10x10”, Mighty Tieton, WA. | |
| 2014 | The Subject is War, Rouge Community College, Grants Pass, OR. |
| CVG show, Collective Visions Gallery, Bremerton, WA. | |
| 2009 | The Zero Gallery, Portland, OR |
| Miami Basal (booth), La Familia Gallery Seattle WA. | |
| CVG show, Collective Visions Gallery, Bremerton, WA. | |
| 2008 | Christoff Gallery, Georgetown, Seattle, WA. |
| Artist in Shoreline, The Shoreline-LFP Arts Council Gallery Shoreline, WA | |
| 2007 | De Leva and Lovinger, Blue Heron gallery, Vashon, WA. |
| SURreality, Caladan Gallery, Beverly, MA | |
| 2006 | Art of Text, Space 39 Gallery, Ft. Myers, FL. |
| 1994 | Sylvia Ullman Gallery, Cleveland, OH. |
| 1993 | Seattle Art Museum S.R.G., Seattle, WA. |
| 1990 | De Leva-Holbrook-Lightner, Red Rock Gallery, Minot, ND. |
| Three Bradley Artists, Waterfront Gallery, Peoria, Il | |
| Black Hawk College, Kewanee, Il. | |
| Sixty Square Inches Small Print Exhibit, Purdue University, Lafayette, IN. | |
| 1989 | Works on Paper, Mc Neese University, Lake Charles, LA. |
| Midwest Regional Print Exhibition, Northwestern University, North Shore Art League, Evanston, Il. |
On the painting, Techina of Our New Plastic Genome.
Don DeLeva’s latest work, Techina of Our New Plastic Genome, offers a provocative glimpse into a future where humanity and technology evolve in tandem, yet with an emphasis on transhumanism as but a minor phase in a broader, cosmic journey. The painting’s techno-goth and cyberpunk influences set a visually striking tone, merging the organic and synthetic into a seamless whole. DeLeva appears to challenge viewers to reconsider the notion of what it means to be human, particularly in the context of a world increasingly shaped by synthetic compounds—what he dubs “Forever Compounds”—that play an essential role in sustaining global economies.
The artwork seems to serve as a meditation on the intersection of science and spirituality, inviting the viewer to entertain the notion of posthuman deification, where the advancements in technology are not feared but celebrated. The inclusion of “benevolent lore” suggests an almost mythological element to these future narratives, where scientific achievement is intertwined with cosmic and philosophical meaning. DeLeva’s invocation of visitors with “interstellar compassion for microbes” in the vast emptiness of the Boote’s void expands the scope of his message, hinting at the insignificance of individual lives when viewed through the lens of the universe’s vast, unknowable scale, while simultaneously offering a sense of connection to something larger and more enduring than humanity’s fleeting existence.
Ultimately, Techina of The New Plastic Genome is a layered exploration of humanity’s place in the grander story of the cosmos—where technology, science, and spirituality may converge to create a new, possibly utopian, future. The imagery itself likely captures this fusion, with the dynamic contrasts between dark, gothic elements and futuristic, technological forms offering an arresting visual representation of these profound philosophical concepts.