Cascade 2.15.22, 2022

Ink on synthetic paper

16 x 40 in. (unframed dimensions)

19 x 43 in. (framed dimensions)

This smooth surface of the Cascade paintings can completely wipe away the ink in an instant and erase all history. Then I have to begin again without a ghost or trace of the original foundation. On its way to becoming something, the painting is always poised on an edge of failure. These works often take days to resolve. Sometimes just a small passage is all that remains after an entire day. Other times the entire painting will be lost. A small misstep may result in an enormous shift in direction. I constantly watch these paintings collapse with a shock of loss, yet trust I will find my way back. The process is often indeterminate and its' conclusion, more like a surrender. This is where I find the painting's definitive beauty.

Courtesy of the Artist

Peach Pit, 2025

Ceramic

11 x 8 x 6 in.

For thousands of years the Peach fruit has served as a symbol of longevity and prosperity in Chinese culture. In Western art history, the fruits are also part of a suggestive, symbolic visual language and are frequently fetishized in popular culture.

Peach pits contain amygdalin, a substance that can turn to cyanide when mixed with enzymes during the digestion process. This contradiction, of a healthful fruit and its potentially deadly core, underscores the complexity of this ancient symbol.

Courtesy of the Artist

Hues of the New Moon 6, 2022

Hand painted lino print on folio vellum paper

30 x 22 in. (paper size)

24 x 18 in. (image size)

Adia Millett's practice is inspired by Afrofuturism, emotional resiliency, and the preservation of our land. Across multiple media, she investigates the fragile interconnectivity among all living things, weaving threads of African American experiences with broader ideas of identity and collective history.

Images, ideas and materials are deconstructed and reassembled to shed light on the parallels between the creative process and the nature of personal identity. In works such as Hues of the New Moon 6, abstracted, geometric shapes imply movement, as they expand and collapse freely among backgrounds that hint at landscapes. The art reminds us of the importance of renewal and rebuilding, not only through the artistic process, but also through the possibility of transformative change.

This work was produced in the Kala studio.

Courtesy of the Artist and Haines Gallery, San Francisco

Framing courtesy of Sterling Fine Art

Revelation, 2025

Woodcut

14 x 14 in.

This is a continuing exploration of the stories that I've been developing. Stories that seek hope in a corrupted capitalist society.

Transverse Waves, 2020

Acrylic on panel

8 x 8 in.

Lorene Anderson is a painter interested in the manipulation of two-dimensional space: math, cosmology, physics and their relationship to biology inspire her work. She frequently pours paint, and more recently, employs gestural brushwork & carved squeegees to pull paint across surfaces creating linear, layered compositions. Born in Kansas just days after a major tornado, Lorene Anderson went on to spend her childhood in Ohio and West Virginia. She received her B.F.A. from Miami University of Ohio and her M.F.A. from U.C. Berkeley, where she received the Eisner Award for painting. Anderson's work is held in various private and public collections, including the Berkeley Art Museum, UC Davis Health, Walnut Creek Public Library, Imagery Estate Winery Artists Collection. She has been exhibiting her work in museums and galleries internationally, including the Los Gatos Art Museum, Marin Museum of Contemporary Art, Kyoto Museum, and Sakai City Cultural Hall (Japan). She has completed residencies with the Sam and Adele Golden Foundation for the Arts (New York) and La Porte Peinte Center for the Arts (France). In 2017, her paintings were included in a group exhibition of 16 Bay Area Women Abstract Painters. She recently completed two large painting commissions for the UC Davis medical campus. Lorene lives and works in Oakland, California.

Courtesy of the Artist and Scott Richards Contemporary Art

Makeup Myriorama, 2015

Photopolymer intaglio with watercolor

15 x 41 in.

"Makeup Myriorama" is part of my "Mascara Forest" series, in which the makeup industry infiltrates and dominates what appears to be natural landscapes. The humor and satire in this work are common hallmarks of my practice.

Courtesy of the Artist

Morning Becomes Her, 2020

Textile

6.5 x 4.5 in. (image)

Fabric is my chosen medium of expression through which I create realistic portraits of people and objects. I find color, light, shadow, line and value in the pattern of ordinary household fabrics. From these I snip small pieces which I arrange and fuse into a figurative composition. As such the work grows from within rather than being applied to the surface of a canvas by paint, pencil or similar drawing tools. When the image is complete, I sew it together with the stitch line constituting the final "drawn" line.

Window Lattice, 2018

Etching

5 x 4 in. (image)

9 x 7.5 in. (paper)

This print is part of an ongoing series focused on elements in the built environment that reflect practices of privacy, barriers, and navigating shared space.

A Long Time, 2023

Ceramic with ink

12 x 12 x 0.5 in.

By placing these deceptively simple objects you call attention to them, you cause them to be seen. Allowing the object's history to be pondered or highlighted.

Courtesy of Transmission Gallery

Untitled, 2025

Engraving on scratchboard

10 x 6.5 in. (image)

18.5 x 15 x 1 in. (framed)

Miriam Klein Stahl is a Bay Area diasporist artist, educator, activist and the New York Times-bestselling illustrator of Rad American Women A-Z and Rad Women Worldwide . In addition to her work in printmaking, drawing, sculpture, paper-cut and public art, she is also the co-founder of the Arts and Humanities Academy at Berkeley High School where she's taught since 1995. As an artist, she follows in a tradition of making socially relevant work, creating portraits of political activists, misfits, radicals and radical movements. As an educator, she has dedicated her teaching practice to address equity through the lens of the arts. Her work has been widely exhibited and reproduced internationally. Stahl is also the co-owner of Pave the Way Skateboards, a queer skateboarding company formed with Los Angeles-based comedian, actor, writer and skateboarder Tara Jepsen. She lives in Berkeley, California located on the ancestral and unceded land of the Chochenyo Ohlone people, also known as Huichin, with her wife, artist Lena Wolff, and their daughter and dog.

Short Cut to the Pond, 2023

Cold wax and oil

11 x 9 x 1.5 in. (framed)

Fundamentally, everything I make is about presence and materiality-specifically, using one to explore the other through the various processes involved in painting, drawing, printmaking, and sculpture.

Objects and (typically) solitary figures inhabiting illusory or real space in a particular moment are the vehicles I use to push the given medium-paint, wood, ephemera, cold wax, etc.-and to explore the physical and emotional edge of that particular, fleeting moment.

Texture, accident, and imperfection are constant companions in my work regardless of media because these also characterize my lived experience. Optimally, my engagement with materials results in an artifact that holds some resonance for the viewer and somewhere between my making and the their looking, is the nexus of connection.

I won't go so far as to say, "I'm nothing without you", but I do feel that my hermetic practice is ideally only one aspect of a broader and meaningful interaction.

under the grapefruit tree, 2022

backyard clay, sand, wood

5 x 8.5 x 2 in.

During the pandemic, I harvested the clay from my backyard to create handmade bricks. As a labor intensive process, working with soil and land became a ritual for protection and care. This work is part of an ongoing project that references a traditional textile pattern from the Philippines. The kusikus is a wave-like motif believed to possess protective qualities meant to confuse spirits. The original installation manifests as a brick arrangement, mirroring the kusikus pattern and imbued with messages carved by community members.

(On) Surrender, 2010

Color aquatint

22 x 22.25 in.

Ross Bleckner makes large scale paintings that deal primarily with remembrance and loss. Stemming from his experience in New York during the AIDS crisis, his paintings strike a balance between abstraction and representation and have often been described as memento mori. Another ongoing theme in his work has been the contrast between light and dark-between the glory and fragility of life. His work is included in the permanent collections of the Museum of Modern Art, New York, The Whitney Museum of American Art, the Guggenheim Museum, New York and the San Francisco Museum of Modern Art among others. The artist is represented by the Petzel Gallery in New York.

Courtesy of Paulson Fontaine Press

Frame courtesy of Sterling Art Services

Svalbard 79.75 degrees North: Pack Ice II State I, 2020

Etching (Hardground and aquatint)

18 x 21 in.

My work is informed by onsite studies in the Arctic, whose materiality and deep time shapes my practice and guides my choice of materials. I create atmospheric images that are inspired by the Arctic yet also relate to my everyday life, most directly by living in the foggy coastal city of San Francisco. A fascination with natural elements and transformation fuels my work. I use ice, fog, and air currents to process at-risk local and global environments.

"Pack Ice II" was conceived after The Arctic Circle Residency, sailing the waters of Svalbard, Norway in June 2019; a then record-breaking month for soaring temperatures in the Arctic. As an etcher whose iterative work lies between creation and destruction, Svalbard's dichotomies spoke to me. Copperplate etchings were a natural choice as the copper, in acid, erodes like melting ice; a natural resource incrementally lost. "Pack Ice II" began with an image of ice across five copperplates (seen here, in State I) that were incrementally destroyed by ferric chloride and printed in various combinations. The plates were regularly reshaped in acid until nearly destroyed. The end result is a series of 100 etchings tracking the deterioration of the image.

After Time Began, 2023

Graphite, encaustic, wax pencil on wood

14 x 11 x 1.5 in.

Relating to my formal training as a metalsmith and working with my hands as a midwife, I savor the physicality of my materials. I mostly paint with encaustic and pay attention to the places where we intersect with nature and are curious about the passage of time. In this painting, from my body of work called Nature's Library, I explore geology and layers of ourselves.

Memory of Tuol Sleng Prison, child 6, 2010

Chlorophyll print and resin

11.125 x 9.75 in.

Binh Danh reconfigures traditional photographic techniques and processes in unconventional ways to delve into the connection between history, identity, and place. As a child who immigrated to the US from war-torn Vietnam in 1979, the memories and trauma of his diasporic experience serve as the foundation for his investigative practice. In his highly acclaimed series of chlorophyll prints, Danh uses photosynthesis to print portraits from the Vietnam War era directly onto the surfaces of the leaves.

From 1975 to 1979, almost 2 million people lost their lives to murder and famine when the Khmer Rouge forced the urban population into the countryside to fulfill their ideal of an agrarian society. Anybody who wasn't "Khmer Cambodian," including many Vietnamese people living in Cambodia, was to be "executed." Many would suggest that the violent backdrop of the Vietnam War encouraged the Khmer Rouge to kill indiscriminately. Today, Cambodia is full of evidence of the Khmer Rouge genocide. One place is now known as the Tuol Sleng Genocide Museum. While visiting this museum, I created much documentation of the interior. I roamed the rooms and hallways and imagined the horror that took place in front of me.

As part of the victim's testimonies, photographs were made of them. For me, the portraits are disturbing because they put faces on the victims, and they started to look like people I know. Like relatives and friends - loved ones murdered. History and generation destroyed - disappeared in thin air. So, I made altars for these victims: A place where we can meditate on history, the present moment, and our mortality. When we experience the art, we become them; they become us. We die a little; they live a little. This is a Buddhist practice called: "meditation on compassion."

Courtesy of the Artist and Haines Gallery, San Francisco

Pillow for Insomniacs, 2024

Printed cotton pillow cover with insert

16 x 16 x 6 in.

I work in a combination of photography, sculpture and textiles to comment on history, economics and the environment. I'm also enthusiastic about irony and humor.

Courtesy of the Artist

In the Sky, Abstract Expressionist Offset Lithograph Poster by Willem de Kooning, 1982

Lithograph

26 x 30.5 in.

"In the Sky" is an original 1982 poster for the exhibition of "40 international aerial artists exhibiting over Purchase, New York, Aug 8, Washington DC, Oct 9, New York City, Oct 16, 1982". Produced and orchestrated by the Rainbow Art Foundation.

Neighborhood, 2025

Color pencil on canvas over panel

20.5 x 16.5 x 2 in.

The gridded composition of Neighborhood reflects my interest in how we navigate personal journeys. We are guided by landmarks and coordinates that stand in our mental landscape, mapping our memories and sense of place both past and present.

Peach Wedge, 2023

Ceramic

28 x 9 x 28 in.

Annie Duncan makes large-scale still lifes-both in the form of acrylic paintings and ceramic sculptures. Working directly from life, she creates alluring compositions that evoke the pile on top of a dresser, the emptied contents of a purse, or the chaos on the floor of a bedroom. In these saturated and distorted works, she explores the power of objects as symbols and storytelling devices. In traditional still life painting, elements like flowers or shells are used as allusions to the female body. She explores these symbols and pairs them with more contemporary references-objects like a plastic razor, an IUD, accessories, or beauty products-that encapsulate aspirational ideals of gender, femininity, and sexuality. In scaling up the objects, she emphasizes their cultural and personal significance, reframing their historical value.

Courtesy of Johansson Projects

or, so we thought, 2024

Oil on panel

16 x 20 x 0.5 in.

This piece is part of a series where I use 'botanical' imagery to continue my long-term exploration of complexity and order. It provides an opportunity to resort to a vivid palette, which I cherish from my Mexican background, and to revel in the joy and pleasure of painting.

Arch, 2023

Etching

17 x 20 in.

Ben Engle's prints function as memories and keepsakes from his time spent around water. His work is deeply influenced by the art of fly fishing and the mental state brought on by the repetitive motion of casting a fly rod. Using traditional printing techniques he recreates stones, landscapes, and geologically based compositions that capture these ephemeral and meditational moments. He received a Bachelor of Fine Arts degree in printmaking at California State University Chico in 2013 and continues to hone his craft at Kala Art Institute in Berkeley, California. Ben lives and works in the East Bay Area.

Plates, 2007

Print on paper

15 x 15 in.

Kota Ezawa's work explores the appropriation and mediation of current events and images, referencing sources from the news, art history, and popular culture. Since the debut of his 2002 video animation The Simpson Verdict, Ezawa has been well-known for creating light-boxes, videos, and works on paper that distill found images into his signature pared-down, flattened style. By reducing complex visual information to its most essential, two-dimensional elements, he explores the photographic record's validity as a mediator of actual events and experiences.

Punch, State III, 2019

Etching, drypoint & UV acrylic with watercolor

18 x 19.75 in. (image)

22 x 24 in. (paper)

Ed. of 4, BAT, AP, PP

Guy Diehl considers himself an interpreter, documenting his visual observations through painting and printmaking. His insights are intuitive, responding to light, shadow, color, shape, and form. He strives to distill each composition to its essential elements, balancing what to depict and what to omit. This refinement, he believes, reveals an image's purpose.

Diehl's work continues the tradition of still life, informed by his deep engagement with art history and the physical act of making. Classical composition and the still life genre serve as the foundation of his practice, yet his perspective brings new depth. Whether through painting or printmaking, he explores the relationship between historical influences and contemporary interpretation. Artists have long borrowed from one another, and Diehl embraces this lineage, incorporating references to historical images and titles. By juxtaposing familiar elements in unexpected ways, he creates fresh visual dialogues that merge past and present.

For over three decades, Diehl has collaborated with Magnolia Editions in Oakland, California, producing works on paper, printmaking, watercolor, and mixed media. This partnership has allowed him to expand his artistic vocabulary, experimenting with techniques and materials that further his exploration of still life and its evolving meaning.

As his work evolves, Diehl challenges himself to push both content and subject matter further. With each piece, he refines his approach, pursuing a deeper connection to the world through his art.

Frame courtesy of City Picture Frame

Courtesy of the Artist and Magnolia Editions, Oakland, CA

Formas Azules, 2025

Woodblock monoprint on Japanese paper, pochoir

17.25 x 7.25 in.

This work is an exploration of layers of shapes and color. From a series of mono prints that are a collage of the seen and the unseen. This print expresses the nuanced and shifting layers of my recent existence. I focus on the shifting layers of experience, balancing between the deeply personal and the political. My art reflects my sense of the impermanence of existence, while seeking to locate myself within the chaos of our contemporary world.

EO 11.21.10, 2021

Gouache on paper

20 x 16 in.

This is from a residency at the Eugene O'Neill Foundation in Danville.

Courtesy of the Artist

West Gate II, 2024

Acrylic on plywood in painted frame

10.5 x 14.5 x 1.5 in.

Based on notational drawings made at The Sea Ranch, CA, this painting is part of a series of works which supplant neutrals for vibrant prismatic colors. The colors are meant to evoke the presence of interior lives within the framework of the architecture.

Courtesy of Quail Contemporary Art

Where?, 2015

Etching

6 x 6 in.

Joan Finton (born 1929), is a painter and print-maker based in Berkeley, California. Coming of age in the early 1950s, her early work was cubist-influenced figurative abstraction, mostly oil painting, intaglio printing and drawing, drawn from the imagery of her life and surroundings in New York City where she had settled. Married to a pianist at the time, this is when she first began to sketch jazz musicians, a subject matter she would return to throughout her life. After relocating to Berkeley in the mid 1970s, she returned to figure drawing, and eventually began to experiment with solarplate etching and monotype printing. Often the mylar plates themselves would become final works in addition to the prints. Her exploration of east-coast milkweeds through this medium led her to a new kind of abstraction.

Ms. Finton is a member of the California Society of Printmakers and has pieces in the collections of the Achenbach Foundation, the UC Berkeley Art Museum and the US Library of Congress.

S1.30 ore, 2024

Oil

31 x 31 x 1.75 in.

Artist Hannah Francos geometric oil paintings are inspired by the quilts of her grandmother and visually depict the stories of the female lineage in her family. Breaking down the worth of craft and other undervalued women's work in American culture.

Crest From Below, Tahoe, 2018

Colored pastel on wax on panel

10 x 10 x 1 in.

Seeing through a veil of captured dots, & the processes to integrate photo imagery is something I came to early in my printmaking practice. Seeking out techniques & materials (both traditional & emerging) to add to my image making vocabulary, I've been drawn to that edge between print tradition and naive innovation ever since.

For my encaustic landscape work I developed a lo-fi printmaking method. Utilizing digital technologies, hobby-grade fabrication machinery, & industry plastic materials I have been able to produce highly detailed pochoir screens in plastic, & use them to build up non-editioned monoprints of photo halftones, using in soft pastel on poured wax surface. It provides a unique ground to play at the boundaries of printmaking, photo imaging and drawing.

The Crest from Below, Tahoe Tree Line series focuses on the fading light through roadside tree tops. This is a unique view that is caused by the permanent path of a paved road through seemingly wild lands. Over time the trees morph around our laid asphalt and offer these crescent shaped landscapes to those who move along them. Reduced silhouettes that rely on delicately implied details and hold saturated colors of light along the edges. A contrast of dusk's blinding highlights against the darkened tonal forms of the passing forest.

Courtesy of the Artist

RL Figure 7, 2022

Vinyl collage on rubylith mylar

15 x 11 in.

Well-known for her intricate work in collage and printmaking, Gantner's larger practice showcases a unique relationship with materials, color, and form that can best be described as a hybrid approach. Her fluid movement between two and three dimensions contains both minimal and exuberant gestures, reverberating from the push and pull of competing influences: organic vs manufactured, analog vs digital, and reductive vs cumulative.

In the "RL" series, Gantner has utilized the material rubylith, a translucent red acetate conventionally used in screenprinting processes, along limited color forms to explore forms in relationship. She's particularly interested in the fundamental forces of the natural world that inform the dynamism and multiplicity of formal interaction. Gantner uses abstracted natural forms that simultaneously represent earth and sky (landscape) and head and heart (the body). These forms become proxies for the human experience, and the world that we navigate. Simply put, the forms are stones and bodies, geologic and permanent. Through her distinctive use of materials and gestures, Gantner's work speaks to the fraught relationships of contemporary life while offering a glimpse of beauty and possibility.

Courtesy of the Artist and Traywick Contemporary

Hot Summer 24-1, 2024

Acrylic and spray on linen

16 x 12 in.

Jen Garrido creates paintings that reflect internal dialogue, natural forms, and the materials she works with. She attunes to a study of self that guides her through feeling lost, found, and lost again. Formal elements are inspired by nature-they excavate, uncover, and unearth. And she attunes to her relationship with the medium of the paint or drawing materials, projecting images and forms from a play between her inner landscape and the outside world onto the surface of the canvas. Palette emerges from feeling rather than preconception.

Garrido's paintings are meditations on the various parts of her identity. Her process is unstructured but results in the possibility of a structure, building something of a dictionary, or reference book, of the shapes she finds along the way. They are symptoms of an exploration of how shapes might relate to each other, repeating, climbing, leaning, and piling. Weighing ambiguity with representation, a desire for decoration, adding, subtracting, abstracting and transforming, she gradually arrives at a final composition.

A Los Angeles native, Garrido currently lives and works in San Francisco. In addition to being a painter, Jen Garrido is the artist behind Jenny Pennwood, her alter-art-ego and small-batch textile-based line of home goods and wearables. Ultimately, the bodies of work are in conversation with each other and are driven by the principle of a blissful alliance between all colors.

Could Be #13, 2022

Acrylic, gouache, pen, paper, fabric, glue, thread

13 x 9 in.

"Could Be" is an ongoing series that combines cut-up drawings with opaque and sheer painted and printed fabric, sewn together on a machine. This process repurposes remnants from other projects, merging painting, drawing, collage, and textile design. The act of sewing introduces a distinct line quality beyond my hand, compressing questions of tactility and pattern.

Courtesy of the Artist

Frame courtesy of Atthowe Fine Art Services

Swallowed, 2022

Oil on canvas

18 x 24 in.

My paintings are built on obsessively layering, reworking and redefining the composition. I work on my paintings from all orientations and have no idea what the end result will be. As I paint , I am always building on what has come before, even if it has been covered up, hidden, lost. Although the painting has deep ties to its own history, it must exist fully as itself in the present, as an image with its own internal logic.

Courtesy of the Artist

Untitled, 2025

Screenprint on acrylic glass and paper

12 x 16 in.

Edition of 2

This piece explores landscape through layering and framing. A print on the inside of the acrylic glass floats above a print on paper, aligning and misaligning as the viewer moves. Many native grasslands in the Bay Area have been overtaken by introduced grasses which arrived during European colonization. The grass in this print is verdant green with seasonal rains, but highly flammable during fire season and drought.

Save the World (George Harrison), 2025

Oil on canvas

14 x 11 x 1 in.

In my paintings I depict personal and mass-produced objects made unique through their idiosyncratic wear and tear. I focus on how these common objects act as markers of time and place while also conjuring personal histories, collective desires and cultural phenomena. I gravitate towards items that bridge connections and disseminate information, from traditional formats like books and records to ever-evolving digital artifacts like QR codes. The works range from depicting singular objects to more layered compositions of mark-making, images and ephemera.

Courtesy of the Artist

Seeds 9, 2020

Mixed media on paper

18 x 13.5 in.

Jane Hambleton works in multiple mediums with an emphasis on graphite drawing. Her work spans the world of drawing and collage. Focusing on the natural world around us, her highly detailed pieces explore the ephemerality of life asking us to pause, be present and look more deeply.

Lumpy 2, 2023

Linocut

11 x 11 in. (image)

13.75 x 13.75 (framed)

I often work in series, and this print is from the "Lumpy" series of linocuts printed at Kala in 2023. Named for a description of shapes used, the series explores repetition and variation and is inspired by patterns found in urban landscapes.

Relics, 2023

Pigment print on Canson's Arches BFK Rives

20 x 20 in.

This series of portraits in the Hall of Reflections project were collected, digitized, printed on transparencies, encased in resin and stored away in 2002. Two decades later, the resins were photographed in their various stages of decay, carrying the evidence of passing time in their continuous transformation. Hall of Reflections project (2001- on-going) continues to create a unique archive of personal photographs and narratives, chronicling the complex migrant experiences of the Iranian Diaspora in Northern California in multi-disciplinary installations.

Sensory Memory 2012 (#5), 2015

Intaglio, screen printed charcoal powder

21 x 17 x 1 in.

'Sensory Memory' explores the ephemeral and subjective space where place and perception meet. Visually observed edges interweave with a 'felt' sense of form and shadow. The precise lines of one medium and the tactile, 'chance' qualities of another describe a detailed peripheral experience, and ask how much we need to see to perceive a whole, and if we see more in seeing less.

Courtesy of the Artist

Underwater Arch, 1983

Etching

30 x 22 x 2 in.

Key work from the text, context, texture, architecture series that led to the Fringe of the Field series.

Frame courtesy of City Picture Frame

Velvet Sunset, 2017

Acrylic paint, ink, fabric on paper

10.5 x 15.25 in.

The remedy for seasickness during rough seas is to fix one's gaze on the horizon as an exercise to stabilize the mind. Considering this practice, this piece comes from a body of work that explores the effects of the shifting glow of sunrise/sunset, the stillness of the moon and the vastness of the night sky. Focusing on the distance while considering the constant offers perspective, grounding us in the present and reconnecting us to the rhythms of the natural world.

Courtesy of Walter Maciel Gallery

Frame courtesy of Sterling Art Services

des/enredarse (dis/entagle oneself), 2025

Gouache and ink on paper

9 x 12 in.

Drawing is a meditative practice when the hand, head, and heart are in sync. In creating this piece, I was thinking about the landscape within and around me, and the physical act of holding and releasing something, something I can't place words to.

Vess Lemon-Lime, 2009

Photo etching with color airbrush

16 x 27 in. (paper)

11.5 x 21.5 in. (image)

Vess Lemon-Lime soda, a St. Louis staple, was founded in 1916 by Sylvester Jones (nicknamed "Vess") and is still produced in St. Louis today, known for its unique and refreshing flavor. The image for this print was taken in the late '70s (as seen in the vintage cars), when the iconic bottle stood near the bottling plant. The bottle was later designated a historic landmark and now resides near the St. Louis Arch.

This print was created incorporating two solar plates. The plate edge and the tone of the smaller red plate (for the Vess type) are visible in the final print. The bottle's green color was applied using an airbrush technique.

Echoing Iteration, 2024

Monoprint on panel

6 x 6 x 1.5 in.

This work is part of my ongoing exploration of color and form. The foundation of the print is the CMYK color palette, which is mixed and layered during multiple press runs to create unique monoprints. The process yields unpredictable and unexpected color combinations.

My artistic research centers on print media as a means to explore the passage of time and the accompanying sensations of loss and absence. I draw metaphors from both built and natural environments to investigate and communicate the physiological and psychological dimensions of these themes.

A Conga Line of O's, 2024

Color letterpress

20 x 13 in.

I printed "Conga Line of O's" during my two-week BIWOC artist residency at the Hamilton Wood Type & Printing Museum in June 2024. Using the letter O's from the extensive Globe Wood Type Collection, I was drawn to their circular forms as symbols for unity, eternity, and wholeness, as well as the precursor of emoticons for "Hugs."

Printed at Hamilton Wood Type & Printing Museum during my BIWOC Artist Residency, June 2024

A Cloud of Hugs, 2024

Color letterpress

20 x 13 in.

I printed "A Cloud of Hugs" during my two-week BIWOC artist residency at the Hamilton Wood Type & Printing Museum in June 2024. Using the letter O's from the extensive Globe Wood Type Collection, I was drawn to their circular forms as symbols for unity, eternity and wholeness, as well as the precursor of emoticons for "Hugs."

Printed at Hamilton Wood Type & Printing Museum during my BIWOC Artist Residency, June 2024

Marin Headlands, CA, USA, 2023

Dye-infused HD metal print

Ed. 1/3

11 x 24 in.

Created on the shore in the Marin Headlands, where the vast Pacific meets the North American landmass, this work captures the collision of elements-water, earth, wind, and ink. The environment actively shapes the ink's dispersion, making chance and place essential collaborators. This interplay of control and surrender reflects my broader practice of engaging directly with landscapes, using site-specific conditions to shape my visual language.

Courtesy of the Artist

Flora and Fauna iv, 2020

Silkscreen and ink on paper

30 x 22 in.

Pantea Karimi's multidisciplinary work focuses on the interconnectivity of art and science by exploring select historical objects and scientific manuscripts of medicinal botany and mathematics from Iran, Arab regions, and Europe. These subjects define her ancestral and cultural heritage and unify her work.

"In my hand-made botanical prints, I present medicinal plants in various compositions. The visual elements and stars in the series are from the Herbal, a 12th-century Andalusian botanical manuscript, and Sidereus Nuncius, Galileo's 17th-century treatise. Inspired by the manuscripts' original images, I digitally draw stars, and botanical and animal silhouettes, and then prepare stencils of them for silkscreen and monotype printing processes. Some of the prints have over fifty layers of printing combined with washes of ink or watercolor to impart the idea of tangled plants in a garden."

About the artist:

Pantea Karimi is a multidisciplinary artist, researcher, and educator based in San Jose, California. She worked and studied in Iran and the UK before settling in the US in 2005. Karimi's works have been exhibited in solo, group, and traveling exhibitions in Iran, Algeria, Germany, Croatia, Mexico, the UK, and the United States, including San Jose City Hall, San Jose Tech Interactive, San Jose Institute of Contemporary Art, New Bedford Art Museum, San Diego Museum of Art, Montefiore Einstein in NY, McMullen Museum of Art in Boston, and Rotch Library at MIT. Karimi's works are held in private and public collections at YouTube HQ, Stanford University, University of California San Francisco, and University of California Davis. KQED Arts & Culture published an article on Karimi's 2022 Woman, Life, Freedom work followed by a live interview on KQED Forum, aired on April 26, 2023

Karimi is a 2024 City of San Jose Creative Ambassador, a 2023 Kala Art Institute Honoree, and a 2019 Silicon Valley Artist Laureate. She is the recipient of Pollock-Krasner Foundation Artist Grant (2022), City of San Jose Arts and Cultural Exchange Grant (2019) and Artist Residencies at MASS MoCA (2022 and 2024), Santa Fe Art Institute (2024), Montalvo Art Center's Lucas Program (2024-2026), University of California San Francisco Library (2021-2022) and Kala Art Institute Fellowship (2017).

Karimi holds Master's Degrees in both Graphic Design and Fine Arts and is a member of the international discussion group Substantial Motion Research Network (SMRN), affiliated with Simon Fraser University in Canada.

Courtesy of the artist and Kala Art Institute

Frame courtesy of City Picture Frame

Weft I , 2018

Ink on panel diptych

12 x 12 in.

Characteristic of my usual minimalist works these pieces are ink on panel and focused on markmaking within a circular shape. This work is from my Weft series inspired by my weaving practice. (In addition to my fine art practice, I raise sheep and spin and weave their wool.) Weft I & II acknowledge the movement, pattern, and line quality that both drawing and weaving have in common.

Courtesy of the Artist and Dolby Chadwick Gallery, San Francisco

Whole In Parts, 2018

Screenprint

14.75 x 11 in.

Harnessing her skills as an animator, Sarah Klein infuses her prints with a sense of motion, capturing fragments of drawings, collages, patterned paper, and color swatches and organizing them into dynamic, layered compositions. "Whole In Parts" is a celebration of life even in the face of its fading - an embrace of the present fueled by anticipation of an eventual end.

About the artist:

Sarah Klein is a visual artist, educator and curator based in San Francisco. Working in animation and printmaking she employs drawing, paper cutouts and live-action footage to create narrative and abstract pieces. Informed by a decade of working in stop-motion, she continues to expand on the language of movement within print-based works. Using image sequences and repeated forms, she creates compositions that highlight the parts that make up the whole.

Klein has presented internationally in galleries, museums, media outlets, and film festivals including the Mill Valley Film Festival, Exploratorium, Southern Exposure and Telematic in the San Francisco Bay Area; Anthology Film Archives and Transmitter Gallery in New York; Visual Arts Center of New Jersey in Summit; Museum of Contemporary Art in Zagreb; Festival Tweetakt in Utrecht; General Public in Berlin. She has received awards from the Zellerbach Family Foundation, Trust for Mutual Understanding, Chez Panisse Foundation, Awesome Foundation and Southern Exposure's Alternative Exposure Grant. In 2017-2018 she received a Media Arts Residency Award from the Kala Art Institute in Berkeley, CA. Most recently Klein worked in partnership with the Jim Campbell Studio and Boston Properties to create a site specific animation for the Salesforce Tower Top Artwork Midnight Artist Collaboration.

Among her many honors are residencies at AGA LAB in Amsterdam, NL, Djerassi Resident Artist Program in Woodside, CA; Jentel Artist Residency Program in Banner, WY; McColl Center for the Arts in Charlotte, NC; and the Ucross Foundation in Clearmont, WY.

Klein has created music videos for the bands Orange Sherbet and Synchronized Watches and was commissioned by the Headlands Center for the Arts to create an animation celebrating the opening of The Commons. She has been a visiting artist at the California College of Art and Mills College in Oakland, CA; University of Arkansas in Fayetteville, AR; Minerva Academie, Groningen, NL and the International Animated Film School, Cakovec, HR among others.

Klein is the co-owner an illustrator of The Local Foods Wheel. She curates the Peephole Cinema in San Francisco, and she is the founder and co-producer of the Stop & Go animation series.

Impossibilities 04-14, 2014

Monoprint and graphite

9 x 7 in. (image)

13 x 10.5 in. (framed)

I am a painter and primarily use print processes to experiment and test out different compositions focusing on my long-time themes of time and memory. The soft ghosts in this print are like the impressions of memories that drift in and out of our consciousness.
Monoprinting is my preferred method of creating prints as it feels very align with the process of painting.

Still Waters, 2024

Woodblock and inkjet printing

13.8 x 20.8 in.

Jimin Lee's work blends traditional woodcut techniques with laser-cutting and inkjet printing, exploring themes of movement, migration, and globalization. Her latest pieces reflect urban transformation and industrialization, highlighting post-pandemic interactions between people and nature in public parks. Lee recently held solo exhibitions at Shirota Gallery in Tokyo and Gallery Create Raku in Kyoto, Japan.

Opossum in Toyon, 2025

Aquatint etchings collaged on panel

14 x 18 x 2 in.

A resident of Fairfax, CA, Julia Lucey got her BFA in printmaking from the San Francisco Art Institute and a MA in Education at Loyola Marymount University. As an Artist-in-Residence at Kala Art Institute, Julia has focused on traditional etching techniques and aquatint to create images dealing with the evolving issues of wildlife, its dissolution, and the attempt by many to direct its path. In the most current body of work, her traditional etchings are cut out of the paper and reassembled into new landscapes on panel.

We Are Neighbors Together: Dominoes at the Island, 2024

Inkjet print of hand-drawn image

5 x 7 in. (unframed)

8 x 10 in. (framed)

"We Are Neighbors Together" is a year-long visual storytelling collaboration between marksearch and the Self Help Hunger Program (SHHP), showcasing stories of resilience, hope, and reparations through photos and videos. These stories were shared on the HEAR HERE Community Billboard multimedia truck in Oakland and Berkeley at festivals, markets and parks, raising awareness about homelessness, hunger, and the displacement of long-time residents in the area.

Led by cultural researcher, artist, and educator Sue Mark, marksearch has been fostering collaborative, interactive opportunities for communities to amplify and preserve their neighborhood stories for over 20 years, both locally and globally. marksearch projects explore relationships between long-term and new neighbors, the value of local knowledge, and the tensions that arise from economic and cultural changes. Working with community groups, public historians, and local experts, marksearch creates public spaces for sensitive dialogue, celebrating and preserving diverse neighborhood narratives.

Missives, 2024

Photopolymer intaglio, letterpress polymer, lead type, and pressure printing on Arches lightweight

14 x 11 x 1 in.

How do our digital messages travel through the landscape? I am thinking about unseen and unnoticed infrastructure and trying to imagine how digital messages move around through wires and electromagnetic waves. I have been fascinated by all of the cell towers that are disguised as trees. The faux trees are witnesses to our movements and relationships as collected data. The cell towers on a hill in Paradise Valley, California, were photographed with my iphone, and made into a photopolymer intaglio plate. Split-fountain pressure-printed map and circuit board suggests a landscape with internal structures. Letterpress photopolymer screenshots and lead type describe activities translated into data. This is an artist's proof from the edition created for The Art of Translation portfolio published by The CODEX Foundation in Berkeley, CA.

About the artist:

Mary V. Marsh's work explores the changing technologies of communication through a lens of personal experience and anxiety. Projects look at how information is delivered, perceived and the intersection of experience and memory. Mary V. Marsh has exhibited throughout the Bay Area with solo shows at San Jose Museum of Art, San Francisco Arts Commission Grove Street, Berkeley Art Center, San Francisco Public Library Skylight Gallery, Kala Art Institute, and Mercury 20. She received an MFA from the San Francisco Art Institute in 1992, a Fellowship Award from Kala Art Institute in 2018, and was a 2022 Small Plates artist at the San Francisco Center for the Book.

Binocular Rivals: Untitled (2018), 2018

Silkscreen on panel, silkscreened anaglyph 3D glasses optional for viewing

8 x 8 x 1.25 in.

My practice is driven by the ever-expanding potential of drawing and by the elasticity of perception. Committed to the in-person viewing experience, I aim to produce singular works whose full effect can only be witnessed first-hand. These days I am especially compelled by the double-edged nature of visual cognition, a tool for efficiency and survival yet rich with pitfalls and glitches: as it fills in missing information and discards unwanted data, the brain is, in effect, constantly drawing. Both as a producer and observer of images, it is within these faulty and often hidden areas of seeing that I find the most excitement.

In my latest project, I engage the effect of anaglyph 3D glasses through red-and-cyan drawing installations and smaller works on panel. The contrasting high-chroma hues clash and collide, generating a potent vibration to the bare eye. When seen through 3D glasses, the image flickers relentlessly between background and foreground, positive and negative space, and flatness and volume. As each lens masks its corresponding color, the brain fails to integrate the picture as a complete whole. The resulting effect, disorienting both in a physical and psychological sense, is compounded by the spatially ambiguous compositions. In my own way, I seek to bring to life the uncertainty, exhilaration and potential lurking within our visual processes.

This print on panel was created during my Kala Fellowship residency in 2018.

Sunflowers, 2023

Graphite pencil on repurposed book

18 x 13 x 1.5 in.

Daniel McClain was born in San Francisco, a graduate from the California College of the Arts, he works at his Berkeley, California, studio.

Arizona, 2024-25

Photopolymer etching, monotype, hand coloring

22 x 15 in.

Arizona is from a series of prints whose ultimate goal is a map for each of the 50 American states. I've begun the series with the places I have lived or spent meaningful time. Not long after graduating from college on the east coast, I took off on a cross-country road trip with two friends and two dogs in a retired US postal van. We arrived at a campground in Arizona late at night when it was very dark. The next morning we awoke to the astonishing sight of giant saguaro cactuses. Decades later on a return trip I visited a pre-Columbian abandoned cliff dwelling, where ancient human history is embedded into the rock. With each of the 50 State Prints I endeavor to create a merger of map imagery and landscape, and to explore the relationship of location, history, and personal memory.

Form and Function, 2018

Acrylic on linen

34 x 22 x 1.5 in.

Employing paint, collage and silkscreen these still life paintings are both evocative and dystopian. Caught between yesterday and tomorrow, these signs and symbols lose their significance and become nothing more than ornamentation, like the flora around them: a visual statement indicative of painting now in the post-Internet age.

Recalling early computer graphics, the recesses and shelves in these paintings simultaneously dictate illusionistic space while flattening it. This convention, built through linear perspective and its repetition, is diagrammatic and easily-accepted. Further, it serves as the architecture holding the composition together despite the clutter of disparate elements. Selected and safe-guarded, the objects are left to wait for a time when they can be taken down and revered once more.

Courtesy of the Artist and Rena Bransten Gallery

drawing for where she can enter history 1, 2024

Ink, high flow acrylics, UV inkjet print on mulberry paper

43 x 31 in.

This is a preparatory drawing made for my edition, where she can enter into history on her own terms, produced with Magnolia Editions in 2024.

In the drawing various objects - fruits, flowers and birds, swathes of cloth, a megaphone, an ornate table - float atop the patterned ground. I think of these compositions as
deconstructed 21st century "still life" (what stillness? what ground?) where distinctions between interior and exterior space fall apart. I pay homage to Latin America's Green wave and India's Gulabi Gang, as international feminist movements and reference a line in the book 'Revolutionary Time' by Fanny Soderback.

Courtesy of the Artist

Glacial Melt, 2024

Copper etching with aquatint and chine colle

16 x 19 in.

I have been working at KALA on a series of etchings inspired by my travel in the Arctic and concerns for the effects of climate change on glaciers and the Arctic environment.

About the artist:

Born and raised in the District of Columbia, Margaret E. Murray has lived in San Francisco for most of her life. Inspired by living at the edge of the continent near the vast Pacific Ocean, she returns frequently to the south Atlantic coast and has spent time in the Caribbean, Australia, and the Arctic. Her abstract landscapes in intaglio, relief, and monotype emphasize color, shape, texture, and pattern.

Murray is an artist in residence at KALA Art Institute in Berkeley and a past member of Graphic Arts Workshop in San Francisco. She has exhibited her work locally and nationally. Murray studied printmaking at the City College of San Francisco, KALA, Crown Point Press, and the San Francisco Center for the Book and holds a BA in Semiotics from Brown University and a JD from the University of California Hastings College of the Law. Making has been her way of life since she was a child, and pressing ink into paper is a thrill hard-wired into her by her great-grandfather, a Scottish letterpress man.

Untitled, 2025

Handground minerals on panel

8 x 8 in.

Craig Nagasawa is a celebrated artist and educator whose mineral-pigment paintings, drawings, and installation work navigates the complexities of race, class, and memory. Using humor and a lighthearted touch to disarm stereotypes, he confronts the ongoing legacy of the incarceration, dispossession, and oppression of his Japanese American community. Grounded in everyday lived experience, his work offers alternatives to dominant narratives of American history, but, just as importantly, creates a space where Nagasawa can just be himself.

Donnie Darko, California Theater, 2004

Chromogenic print

30 x 40 in.

Location in Black, 2003

Ink jet print

37 x 24 in. (paper)

39.25 x 27.25 in. (framed)

Yuzo Nakano, Artistic Director Emeritus and co-founder of Kala Art Institute. While it's been many years since he has been involved in the day to day at Kala, he remains an important member of Kala's creative community. He is a graduate of Tenri University and Tokyo Gendai Art Institute, Tokyo, Japan. He studied printmaking with Stanley William Hayter at Atelier 17 in Paris. His work has been exhibited in commercial and public galleries throughout the world including the Fine Art Museums of San Francisco, where his works are a part of the permanent collection.

Redwood, 2025

Linocut

5.5 x 4.25 in.

I produce site-specific large-scale installations that often engage the audience, with my primary themes revolving around language, perspective, and being present. I regard the production process as equally important as the final outcome, valuing the communication with all stakeholders throughout this progression.

This collaborative spirit enhances my creative vision, allowing me to explore the potential of various materials for artistic expression, and igniting my excitement as they transform into artwork. Additionally, I am deeply interested in the aging process over time and the effects of natural resources, which play a crucial role in shaping my work.

As a Buddhist, I often reflect on the notion of being and non-attachment, which prompts me to consider my flexibility in embracing the present moment. This thoughtful consideration influences my artistic approach and shapes the outcomes of the pieces I create, allowing them to resonate with the ephemeral nature of existence.

Layered Ferns, 2022

Ink on paper

8 x 10 in.

The majority of my current work centers around the ephemeral natural world. This study of fern leaves in inspired by the light I see on my walks though local parks and forests.

SC #411, 2023

Acrylic on canvas, sewn

14 x 11 x 1 in.

SC #411 is made up of painted canvas cut into strips and sewn onto another piece of canvas and then stretched over stretcher bars. This work is a sub-series of my overall practice.

About the artist:

My work is represented by Jack Fischer Gallery in San Francisco and Robischon Gallery in Denver. In addition to several solo shows at Jack Fischer Gallery and Robischon Gallery, I had six solo shows at the former Braunstein/Quay Gallery in San Francisco and one person shows at the New Mexico Museum of Art, Santa Fe; Gold/scopophilia, Montclair, NJ; Artemisia Gallery, Chicago; Intersection for the Arts, San Francisco; Limn Gallery, San Francisco; Mohr Gallery at the Community School for Music and Arts, Mountain View, CA; and Galerie Eylau '5, Berlin, Germany.

My paintings have been in exhibitions at galleries throughout the United States including Greg Kucera Gallery, Seattle; Mary Ryan Gallery, New York; John Davis Gallery, Hudson, NY; Pulp, Holyoke, MA; Gray Contemporary, Houston; Patricia Sweetow Gallery, Los Angeles; Jan Baum Gallery, Los Angeles; Robischon Gallery, Denver; Pie Projects, Santa Fe; Ylise Kessler Gallery, Santa Fe; LewAllen Contemporary, Santa Fe; San Jose Museum of Quilts and Textiles, San Jose, CA; and the Oakland Museum of California, Oakland, CA.

Courtesy of Jack Fischer Gallery, San Francisco, CA

Courtesy of Jack Fischer Gallery, San Francisco, CA

Future plants-Areca Palm, 2024

Etching/Carborundum

21 x 27 in.

Nora Pauwels' drawings, prints and books utilize botanical themes to explore ideas of documentation, typology, portraits of a neighborhood, climate change and archiving the everyday and ordinary. The images embody wistful qualities that express a quiet desire that plants will mutate into hyper powerful versions of themselves and overtake our present situation.

Flowers of Love for Children of Bombs, 2024

Acrylic on panel

14 x 11 x 2 in.

My interest in the Cold War and its contemporary reverberations come from my personal background as a Soviet refugee of Ukrainian and Russian descent, who was primarily educated in the US. I was born in Kharkiv, Ukraine and lived there under Soviet occupation until my family was granted refugee status and immigrated to New York City, just a month prior to the fall of the Soviet Union. When we were en route to the Moscow airport leaving the only place I called home, I vividly recall seeing traces of military tanks, deeply carved repeating groves stamped into the asphalt. What I witnessed were physical traces of abstract marks made by political upheaval that ultimately toppled the USSR. The abstract patterns, groves and imprints of political unrest continue to fascinate and disrupt my sensibilities throughout my life.

Courtesy of Artist and Kutlesa Gallery New York /Basel

Untitled, 2024

Sumi ink on paper

15 x 12 x 1 in. (framed)

Carissa Potter is an artist who lives and works in Oakland, California. Her prints and small-scale objects reflect her hopeless romanticism through their investigations into public and private intimacy. Speaking both humorously and poignantly to the human condition, Carissa's work touches chords we all can relate to - exploring situations we've all experienced at some point in our lives and conveying messages we simply long to hear.

Facing North, 2024

Screen print on mirror

12 x 12 in.

Edition of 2

The project series titled Place Is Now consists of screen-printed images of household objects taken directly from memory, seamlessly collaged together to create multiple scenes, settings, and rooms. These spaces, suspended in the timeless and placeless context of the mirror's materiality, illustrate the intricate workings of nomadic memory. The mirror's inability to hold place or record time in its reflection, disrupted by screen-printed images of inaccessible objects on its surface, perfectly encapsulates the refugee's relationship with place.

About the artist:
Helia Pouyanfar is a conceptual artist whose work investigates the permanently transient state of the refugee body and its negotiation and reconciliation with Place. Her sculptural and photographic work manipulate and contort architectural objects in an attempt to re-contextualize architecture as the poetry of the nomad, narrating the idea of Passage and the relationship between liminal spaces and transit.

Subrepere (Moth), 2024

Silver-plated platter, epoxy resin, inkjet print on paper, moth, reflective glass beads, binder

14.5 x 14.5 . 2.25 in.

Subrepere is a Latin verb meaning to creep (up to/under), insinuate self, move stealthy, ooze/seep (liquid)

Courtesy of Nicelle Beauchene Gallery, New York, NY

Little Skulker, 2025

Fabric, thread, wire, glue

7 x 6.5 x 2 in.

I create emotional subjects that are empathetic takes on misfit characters, both real and imagined. The real versions of these animals are all known to be scavengers, uninvited guests that intrude into places where humans reside. They are metaphors for the outcasts among us who are unwelcomed, shunned, and perceived to be flawed while hoping for a chance to communicate their plight.

Courtesy of Walter Maciel Gallery

Untitled, 2024

Acrylic and crayon on paper

8 x 8 in. (image)

17 x 17 in. (framed)

For me, starting a painting is a leap into the unknown requiring the presence to follow leads when they appear but to know when to let go of dead ends. The materials can change- paper to board, pencil to acrylic paint or ink but the approach stays the same. Seeking, sometimes finding, the autonomous activity provides plenty of opportunities to fail but also the freedom to find something new, and the time to get lost and meander coaxing the painting to emerge. Searching for compositions that harmonize, colors that sing, shapes that vibrate and push against one another creating emotion. Intellectually it's like trying to learn a language without knowing the alphabet. I'm influenced by the shapes in the natural world, by other paintings, by musical rhythms but ultimately abstract painting is creating something that does not exist another way. The process of painting takes time and the problems can't be solved any quicker than the process will allow with the ultimate dilemma being always how to know when it's finished.

Green Aromas, 2018-19

Acrylic on panel

12 x 12 in.

Push, 2025

Oil on cradled board

8 x 10 in.

Leyla Jamil Rzayeva engages with topics of girlhood and ethnicity in the US to understand how someone feels and shapes everyday life. Sensitive to the time and place, the painting reflects the viewer's feelings about the scene, creating a shift from the vernacular into poetic.

Courtesy of the Artist

Humpbacks, 2024

Screenprint

36 x 18 in.

In much of my work the inspiration is the natural world which I depicted alongside the harsh realities of the human condition to act as a counter weight to one another. My hope is the viewer experiences the delight in the beauty and the acceptance of the changes needed to be made.

Cowrie Shell: Interior Life, 2022

Photogram, silver gelatin print

10 x 8 in. (image)

20 x 16 in. (framed)

Ron Moultrie Saunders is a photographic artist who creates photograms: photographs that are made without the use of a camera. His work explores story and mythology as a gateway to talk about cultural histories, family mythology and, personal identity.

Collection of the Artist

Boisson Rouge 4/30, 2019

Linocut engraving

19 x 25 in.

Julien Schuster lives in Honfleur, France which is an old port city in Normandy. His images of Norman architecture, plants, animals, the sea and wine (!) are drawn and engraved with lightness and humor. His titles are often a play on words. Each work in an edition of 30 is unique because of additional runs through the press and/or hand coloring.

Magenta Ground Cover, 2024

Aquatint etching

15 x 12 in.

My process begins through isolating specific moments and details found in the urban landscape. The city's concrete gridded layout, road signals, paint colors and built textures weave together a familiar pattern: an urban fabric from which I can pull apart the individual pieces. I look at repetition, shape and texture.

About the artist:

Courtney Sennish (b. 1991 in Saginaw, Michigan) lives and works in Emeryville, California. She received her BFA from Rhode Island School of Design and graduated from her MFA at California College of the Arts. In 2015 she received the Headland's Graduate Fellowship Alternate. Sennish was an artist in residence at Kala Art Institute, Incahoots and the Black Rock Desert NCA Artist in Residence program. Courtney has been showing around the Bay Area, in multiple group shows. In 2016 she had a solo show at Johansson Projects and a solo exhibition at the Monterey Museum of Art's Currents Gallery in 2019. She is preparing for an upcoming two person exhibition at Truckee Meadows Community College in Reno, NV winter 2024.

Roam, 2024

Monotype

21 x 21 x 0.75 in.

I created this print with stencils I shape from heavy-weight and textured papers, as well as other ephemera I source. This monotype is a little smaller in format which makes it so very intimate. Moreover, I am using a new orange-red ink color I love!

Knowledge is Man, 2025

Mixed media, paint on vintage book cover

Amrita Singhal is based in Berkeley, California. She studied drawing and art history with the brilliant and reclusive painter Louise Smith who was a contemporary colleague of the Bay Area Abstract Expressionists (Diebenkorn, Park, Bischoff et al.) and a one time student of Hans Hoffman, Erle Loran and Margaret Peterson O'Hagan at UC Berkeley. Two of Amrita's paintings are in the permanent collection of the UC Berkeley Art Museum (BAM). She has painted a Berkeley Public Works Art mural for Meyer Sound and regularly exhibits her work in solo and juried group shows. Amrita is also creating a series of immersive works, blending traditional painting techniques with cutting-edge technology. Her exploration into virtual reality and digital immersives as a medium will offer an exciting dimension to her artistic vision, inviting viewers to experience her work in new and dynamic ways.

Hundred Acre Wood #5: Rabbit Has a Birthday Party, 2023

Watercolor, ink, transfer type

25.75 x 20 x 1.5 in.

This watercolor work demonstrates my interest in maps, in line art, and also my nostalgia about childhood. Winnie-the-Pooh evoked enduring and happy images. This is an abstraction of those memories, inviting the viewer to explore recollections of the landscape their minds created in reading those stories.

Gathering Light #12, 2001-2009

Photoetching, chine colle, color pencil

12.5 x 12.5 in. (image dimensions)

24.5 x 23 x 0.5 in. (framed dimensions)

This bubble chamber photograph from Lawrence Berkeley Labs includes a chine colle of a 3rd degree fresnel lens, both ways of making light visible. I've long been interested in showing science and physics through my art.

About the artist:

Maryly Snow was born in Oakland, CA where she currently maintains her studio. She is a painter, photographer, printmaker, and collector of toothbrushes. Her work focuses primarily on documenting time and place and the relationship between art and science with series that grapple with a variety of climate issues, from Art and the Scientific Method, Oil and Water, Water Wars, Atmospheres, Physics Revisited, among others.

Snow was admitted by portfolio review to California Society of Printmakers in 1990 where she is still a member. She studied color and line with Elmer Bischoff and George Miyasaki at the University of California, Berkeley, and painting and printmaking with Kenjilo Nanao, Raymond Saunders, and Corbin Lupell at Cal State Hayward. Snow is currently not represented by any galleries, although previously she was represented by Van Doren Gallery in Chicago, plus the Van Doren Gallery, Tom Lutrell Gallery, Nathan Hart Gallery, and the SFMOMA Artists Gallery in San Francisco. She has been an artist in residence at Kala Art Institute, a relationship that goes back to 1984. She currently services on Kala's Art Advisory Board.

Maryly served as the Director of the Visual Resources Library, College of Environmental Design, University of California, Berkeley from 1976 to 2006. She was an active member of Art Libraries Society of North American (ARLIS/NA) and Visual Resources Association (VRA) where she focused on intellectual property rights and metadata standards for visual resources. Snow retired as Distinguished Emeritus Librarian in 2006 from Cal, and received the VRA Distinguished Service Award in 2007. When not making art, Maryly enjoys travel, reading, writing, playing bridge, swimming, and tending bee hives.

Courtesy of Maryly Snow

Squiggle Color Meditation, 2021

Watercolor and embroidery on paper

5 x 5 in.

In many ways, my art is an experiment. My studio and the world I interact with is my laboratory. Like any good scientist I post questions and conduct research. My questioning is multi-linear. It is rooted in my attempts to understand myself, my personal history, as well as an interest in uncovering the profound in the immediacy of the everyday that surrounds us all.

Courtesy of the Artist and Walter Maciel Gallery

Through the Window: Pink Moon, 2024

Monoprint, colored pencil

28 x 18 in.

Through the Window series explores the themes of shelter, security, and longing. The plants stand in front of the window looking out, as the moon looks in from the night sky. The uncertainties and anxieties of life are overwhelming, but the moon is here keeping an eye on us all.

Cupid Chastised, or the Morning After, 1986

Gouache

10 x 14 in.

My work follows in the tradition of history and narrative painting documenting current and fictitious events using myth and allegory. The human condition, modern-day romance and political issues are often explored. Voyeurism, a longing to 'be someplace else' and a sense of places and events remembered are recurring themes. Humor is the catalyst and a bridge to darker, more troubling issues. In my youth I wanted to make paintings people would gag and cry in front of until I saw two women doubled-up laughing in front of my painting. At an opening years ago a woman came up to me, drink in hand, and said, "these are not funny paintings, they remind me of junior high when I was miserable." She then dropped her glass at my feet and ran out of the gallery. At an opening at PS1 in New York, years ago, Joyce Kosloff commented, "God, lulu, your work is so American!" I strive for that precarious line between the colloquial and the sublime, perhaps in order to sabotage both extremes, but more often just to see if I can pull it off.

Courtesy of Anglim/Trimble

Two Horned Creature, 2025

Oil on panel

16 x 16 in.

This piece is representative of the kind of portraits I paint. It is brightly colored and gestural. I have been very interested in masks and masking lately and this piece fits in with that body of work.

About the artist:

Livia Stein was born in Dallas, Texas, and raised in Southern California. She studied history at University of California at Berkeley and pursued a master's degree in South Asian Studies at the University of Pennsylvania. She spent several months in India as a student and has continued making many trips there over the past 30 years. Influenced to do photography by her father, a talented photographer, she studied at Art Center College of Design. She began to shift her artistic focus away from Photography to Painting while completing Master's Degree at San Francisco State University.

She resides in Oakland, California where she maintains a studio. She is a painter and printmaker who works often in mixed media. Her work has been exhibited in Europe, South American, India and throughout the United States and is included in many private and public collections.

Courtesy of The Transmission Gallery

kasterlee 2, 2005

Etching aquatint

16.5 x 10 x 1 in.

I feel moved when sunlight touches an object in the afternoon and visualize the space around me. I walk out and wander around to observe shapes of shadows. I realize that shadows make spaces visible. I find myself in the spaces enjoying architecture delineated by sunlight. Buildings and their shadows are layered and blended together creating momentary beauty of colors and shapes. These scenes are temporary, and will change or disappear in the next moment. They are very precious because their occurrence is the unique combination of a place, sunlight, and the precise moment I happen upon the scene - like an eclipse.
I spontaneously use photography to capture visual information like quick sketches. Camera documents specific moment of ever changing shapes and spaces. Although capturing the moment is quick, when I create works of art, I choose time-consuming autographical method in transferring information from the photograph. During the process of depicting information, I become involved deeply and identifying myself as a part of the space. I note that nothing is permanent and everything is constantly changing: light, cityscape and myself.
The printmaking process is reminiscent of the relationship between light and shadow. Etching and aquatint help me express my interest towards light and shadow by using rich tones of black and white. The graphic nature of black and white leads me to lines and shapes found in architectural elements. Once I eliminated color from my work, I found myself drawn to the exploration of space itself.

fern-gm, 2021

Intaglio

21 x 26 in.

Many great minds have been captivated by the concept of a single unifying principle that governs the all that is our universe, a principle in which all things are connected by a universal truth. While we often associate this inquiry with the sciences and philosophy, it is also an important influence in the arts. I have long been intrigued and inspired by the concept of a unifying principle and have been creating artworks in which the concept is interpreted through shape, color, and spatial relationships. I create works in which elements function like organic building blocks: atoms form a molecule, molecules form a compound, compounds form a cell, cells form an organism, and so on. The marks, lines, shapes, colors, and textures that are the basic language of my work form a kind of network structure-a system of interconnected nodes that seem energized by their interaction within the network. In the interdependence, synergy, and the flow of meaning and significance within these networks, there is subtle and profound beauty.

I draw a circle. It could represent a cell, a planet, infinity, or peace. When I draw the circle, I think of the connectedness of all these things, and I draw more circles. Circles connect to circles and circles contain circles, and thus "Connection" came to be. Working with these elements I see a kind of cosmos blossom, and within it emerge areas that suggest positive and negative space.

Courtesy Cleveland Print Club

connection-pnc m-34, 2015

Acrylic, ink on panel

8 x 6 in.

connection-pnc m-18, 2015

Acrylic, ink on panel

8 x 6 in.

inspired by Louise, butternut, 2024

Screenprint

11 x 15 in.

rhiannon 'skye' tafoya (b. 1989) is an interdisciplinary artist from the eastern band of cherokee and the santa clara pueblo tribes. she earned a bfa in printmaking from the institute of american indian arts in santa fe, nm., and an mfa in print media from pacific northwest college of art in portland, or. she employs printmaking, digital design, and basketry techniques in creating her artist's books, prints, and paper weavings. both of her tribal heritages, cultures, and lineages are manifested in her two- and three-dimensional artworks that range in size from a few inches to a few feet. she is inspired by her family history of basketry and observing her father and maternal grandmother weave baskets from red willow, honeysuckle vine, and white oak. while her inspiration comes, in part, from cherokee traditions, her artworks are decidedly contemporary, featuring sharp lines and bold colors. skye creates to preserve, archive, and share personal and familial stories, cultural knowledge, and the cherokee language.

Balance Transfer, 2024

Vitreous enamel, crushed glass, copper, credit card fragment

2.215 x 3.375 in.

Works in the Balance Transfer series respond to credit card fragments found mostly on the streets of my neighborhood in Vallejo, CA. Using vitreous enamel and copper, I "repair" each card. This intervention invites comparison through visual and material juxtapositions, addressing concepts of value, excess, and deficit while evoking the practice of borrowing from the future to enable present consumption.

Courtesy of the Artist

Moon Crater, 2025

Steel

28 x 17 x 5 in.

This piece reflects many years of work using very lightweight material and finding strength, mass and volume through bending and folding. The simplicity of the piece suggests craters and moons.

Untitled: Lawton, 2024

Etching and chine colle diptych mounted on two separate panels

8 x 10 x 1.5 in. each

These pieces are studies of particular curated exterior spaces.

still life with finger, 2024

Aquatint etching

12 x 9 in. (image)

16 x 12 in. (framed)

Yosemite Panorama, 2012

Wood engraving

4 x 10 in. (image)

10.5 x 15 in. (paper)

framed

Richard Wagener grew up in southern California spending a lot of time in remote parts of the high desert and in the Sierra. Early art classes introduced him to Maynard Dixon and Edgar Payne. After school activities included selling the evening newspapers at the Disney studios where he met many of the illustrators and animators. Richard has an undergraduate degree from the University of San Diego and a graduate degree from ArtCenter College of Design. He has been engraving wood for over forty years and his work has been in a number of fine press editions, most notably with Peter Koch in Berkeley and the Book Club of California. In 2006 Richard established his own imprint Mixolydian Editions to publish his own fine press editions of his work. He has collaborated with David Pascoe of Nawakum Press, Santa Rosa, California, co-publishing three fine press books, one of which, Loom, earned them the 2016 Carl Hertzog Award for Excellence in Book Design. Richard was also awarded the Oscar Lewis Award for contributions to the book arts. He currently lives and works in northern California.

Little One, 2025

Oil on redwood

7 x 11 x 5 in.

This piece is a small sculptural object that can be carried along with you at times when you would like to be in the forest, but are unable. One of the aspects of handheld sculptures that I love is that one is encouraged to touch and interact with the piece. The larger pieces that I make become majestic and regal, which is a positive thing in many aspects, however the surfaces of gold and silver do not lend to the same kind of intimacy as the little objects. For its versatility and invitation to gently hold it, this tiny piece makes me happy.

Winter's Marking, 2019

Woodcut print on washi paper

Ed. of 10 - printed by Ryan Harrison

25 x 34.25 in.

A Too Late Song for Becky, 2013

Reductive woodcut with stencils

13.5 x 10.5 in. (image)

23 x 19 in. (framed)

This print is a meditation on the effect of song, and how its meaning and impact can change depending on many things - the singer, the character of the song, its volume, melody and rhythms, its lyric and history. Any of these elements combined with the circumstances of the listener and what he or she hears and feels will create the song's personal meaning in the moment it is heard.

The four birds in A Too Late Song together suggest the alternate undertones of Becky's song: a large darker bird dominates the chorus; above it a smaller warbler seems capable of a sweeter voice. The bird that is trapped in a cup offers a song that can't be heard. And the bird that emerges from the parchment-yellow field offers a pale memory of another singer's song. A vignette of a couple waving goodbye offers a potential clue to the meaning of the song.

Background - shortly before she died, my elderly mother (Becky), who had earlier lost much of her vision, was hospitalized in severe pain. As we looked for distractions for her, my sister and I tried to sooth her discomfort with music. A tape of arias and romantic songs by the Italian tenor, Andrea Bocelli, captured her attention. When told that Bocelli was blind, the singer's lyricism and knowledge of his dark world moved my mother through her worst moments. Her nurses remarked that hearing is the last sense we retain when all else is lost.

Landscape As Object + Landscape Without Object, 2022

Acrylic on panel

7 x 5 in. (each panel)

Series in which I'm experimenting with textures and colors available with acrylic paint.

Untitled, 2021

Acrylic, gesso, latex, pieced found fabric

20.5 x 20 in.

I create paper collage and paintings on pieced textiles that consist of simple, restrained abstract forms evocative of deeply sensed mental and emotional states. I approach the combination of elements in my work as though I am constructing a feeling, a thought, a relationship; intentionally creating spatial and narrative ambiguity that heightens the work's expressive tension.

The repurposed materials that I use have their own histories which become integral expressive elements in the work. Because the larger paintings on textile include the tactile sensual qualities of the fabric and painterly marks, the compositions have become more reduced, allowing for greater clarity and impact.

Fish Boat, 2024

Monoprint with hand work

15 x 20 in.

I am a primarily a painter but have also practiced monoprinting off and on for many years.

Courtesy of the Artist

Confluence, 2024

Watercolor and ink on paper

6 x 6 in.

This work is part of a series influenced by my love of botanical painting and textiles/weaving. Wet and wet painting as an organic warp and weft.

But How You Carry It, 2021

Multiple linoleum block print

23.5 x 15 in. (paper)

The title of this print takes its title from the poem, "Heavy," by Mary Oliver. Its inspiration came from the immense number of songbird deaths recorded due to the wildfires of 2020, as well as trying to understand some of my own personal grief. Much of my work comes from the concept of solastalgia, a word that refers to the unquiet or grief of a changing environment.

Army of Lovers, 2017

Screenprint

22 x 15 in.

An Army of Lovers, first edition, 2017, Lena Wolff and Jaime C. Knight

An Army of Lovers was designed and printed by Jaime C. Knight based on his original work of the same name. The text originated from the Queer Nation Manifesto of 1990. It was initially printed as a collaboration with Lena Wolff during her residency, The Song is Love, at San Francisco's de Young Museum in 2017.

Courtesy of the Artists

Golden Routes, 2021

Birch wood, acrylic paint

21.5 x 16 x 0.125 in.

Golden Routes are recordings of time and space, transforming my walking paths into sculptural forms that document the act of labor. These shapes reconfigure land and boundaries, reflecting on the legacy of colonization in the Digital Age.

Courtesy of Minoosh Zomorodinia

Time of Momentum: Tranquil, 2018

Multiple color etching

14 x 8.5 in. (image)

26 x 20 in. (paper)

For 40 years, I have made printmaking and artist books with prints my life's work. I never thought I would spend so much time pursuing only this medium. I draw an image on the surface of a copper plate and then immerse it in a container of acid. The acid corrodes the copper sculpture, creating the image. Depending on the depth of the erosion, the artist waits for minutes, hours, or days, trying to predict what the image will look like. Then nature does its thing and the copper plate corrodes and the image is engraved on the plate.

Someone once asked me what I meant by "sense of special depth that etching has". It is because the image I draw on the copper plate exists in a three-dimensional world created from the traces naturally acquired by the passage of time. Prints look like flat surfaces but actually exist in a 3D world. And I answered that it is. It is deep. The more I pursue it, the deeper it becomes. I am completely absorbed in this world.

My artist statement is the work itself.

Material Study (April 2025), 2025

12"x30"x5"

charred mimosa tree, brass, walnut tree

Taro Hattori is an interdisciplinary installation and social practice artist which often focus on building a relationship between physical settings and the people with a specific socio-political background through their performances, conversations and singing. Hattori has been a recent recipient of a grant from Creative Work Fund, Pyllis C Wattis Foundation, California Arts Council, Art Matters Foundation, Zellerbach Foundation, Center for Cultural Innovation and others. He has been awarded a residency fellowship from MacDowell, Headlands Center for the Arts, Montalvo Arts Center, Djerassi Resident Artist Program, The deYoung Art Museum, Kuandu Art Museum in Taiwan and others. Hattori currently teaches at California College of the Arts.

Abstract VIII: I Got the Cobalt Blues, 1979

Lithograph

32.5 x 24 in.

Edition 66 of 200

Peter Voulkos came of age during the 1940's and 50's at a time when Abstract Expressionist painting held sway in the art world centered in New York City.

Often referred to as the Father of Contemporary American Ceramics, the influence of Peter Voulkos is hard to overstate. The force of his personality and the power of his art influenced generations of artists and ultimately reshaped the history of contemporary art. Roberta Smith described the magnitude of his impact when she wrote, "few artists have changed a medium as markedly or as single-handedly as Mr. Voulkos."

Weft II , 2018

Ink on panel diptych

12 x 12 in.

Characteristic of my usual minimalist works these pieces are ink on panel and focused on markmaking within a circular shape. This work is from my Weft series inspired by my weaving practice. (In addition to my fine art practice, I raise sheep and spin and weave their wool.) Weft I & II acknowledge the movement, pattern, and line quality that both drawing and weaving have in common.

Courtesy of the Artist and Dolby Chadwick Gallery, San Francisco

Habibti Cosplaying as Palm, 2023

Glazed stoneware

21" x 8" x 4.5"

Inspired by Mesopotamian votive figurines, they're contemporary interpretations that mesh pop culture, fashion and funk!

A Week in Paris on Rue St. Honore

Enjoy a week in Paris on Rue St. Honore in the heart of central Paris a spacious two bedroom apartment. You'll be just 2 blocks from the Louvre and one block from the Metro and the Palais Royal, and in close walking distance to the Opera, Concorde, and Champs Elysees.

Imagine an art-filled romantic getaway or a week with friends and family. Your Paris apartment sleeps five and the adventure of Paris awaits you.

This bright duplex apartment is located on the fifth and sixth floors of a building with an elevator, has two bedrooms, one full bathroom with bathtub, a washing machine/dryer, a fully equipped kitchen, cable tv, high speed internet access, and a terrace overlooking the Rue St. Honore.

In addition to the week, you'll have the opportunity to rent a second week at a bargain price.

retail value $1850

Eyeglass Lens Brooch

Joan Finton has been making eyeglass lens brooches for many years. The image you see is montage of intricately cut papers pressed with glue to the underside of an eyeglass lens, backed with an acrylic modeling paste and finished by sanding and painting.

It is labor-intensive, but creatively enjoyable process, yielding a one-of-a-kind piece. Each brooch is unique; no two are alike. The bits of gold on most brooches will catch the light in surprising ways.

retail value: $80

Eyeglass Lens Brooch

Joan Finton has been making eyeglass lens brooches for many years. The image you see is montage of intricately cut papers pressed with glue to the underside of an eyeglass lens, backed with an acrylic modeling paste and finished by sanding and painting.

It is labor-intensive, but creatively enjoyable process, yielding a one-of-a-kind piece. Each brooch is unique; no two are alike. The bits of gold on most brooches will catch the light in surprising ways.

retail value: $80

An eclectic mix of wines from Kala's Board of Directors with a little help from their advisory council friends

Please note: This item cannot be shipped. Please p/u wine in the Kala gallery

"Ask Like an Auctioneer: How to Ask For More and Get It" - Book Bundle by Dia Bondi

Dia Bondi is the CEO and Founder of Dia Bondi Communications, which helps high-performance professionals speak with power and purpose at crucial communications moments to amplify their impact and reach their goals faster. Dia is the secret weapon behind some of the world's most influential brands, leaders, and VC-backed founders. She helped Rio de Janeiro secure the 2016 Summer Olympics, and was the communications coach for world leaders for United Nations gatherings. Following a curiosity, Dia attended auctioneering school and has since translated the techniques she learned into a program that prepares women to ask for more and leave nothing on the table called "Ask Like an Auctioneer," which catalyzed her mission to put more money and decision-making power in the hands of women so we can change everything for all of us. Dia believes that you are your most compelling and impactful when you lead with who you are. She lives with her family in Northern California.