There’s a dance party raging on the largest wall of The Gallery on Bainbridge Island.

And this shindig is continuous in the form of three, 3-by-4-foot, side-by-side oil on canvas paintings called Socios I, II, III created by island artist Amy Williams. Her works, depicting boisterous and busy salsa dance scenes, are matched with the flowing ceramic pottery of Lynnwood-based Barry McAlister.

Under the artistic ethos of dance, Bainbridge Arts and Crafts curators have mixed the works of these established show women. The resulting motion-driven exhibit will only be up until May 29, so both dancers and those unfortunate souls stuck stationary with two left feet are encouraged to visit The Gallery —151 Winslow Way — before the end of the month.

And while for the first type of person the allure is obvious, the dance hall exhibit could yield a visual groove even for the less-inclined two-stepper, Williams said.

“I make the people non-specific, I try to use as little description as possible so they could be anybody,” she said of her faceless oil characters. “People can put themselves in there.”

While some of Williams’ paintings are created from a bird’s eye perspective — a vantage point high above the party — “in others it’s like you are right there on the dance floor,” BAC curator Victoria Josslin said.

Such is the case in the afore mentioned Socios I, II, III, and getting down directly behind the viewer’s right shoulder is McAlister’s sculpture “Three Dancers Leaping.” Three figures are posed with arms extended like a stage troupe right before the curtain drops.

“Instead of just having the hint of dance there, this time I just went straight out and the whole theme is dance,” said McAlister who’s been a dancer virtually since birth. “As the body of work was completed, I saw so many principles and things that I had used so long ago in modern dance. its interesting in the arts how the principles apply to all.”

Though at age 61, McAlister hasn’t danced (other than in the privacy of her own home) in more than 15 years, the spirit of it is intrinsic, she said, and constantly reemerging in her ceramics.

Coincidentally for Williams, it was her introduction to salsa dancing about five years ago which sparked a reemergence in her artwork.

“For years I stopped doing the (human) figure thing all together … this is really my return to the figure,” she said. “I danced for about six months and realized that I needed to paint it as subject matter … when your life and your art come together like that, wonderful things happen.”