Carcanet, 2015

Wire, lichen, acorn top

20 x 18 x 1 in.

Mari Andrews is known for delicate, haiku-like sculptures that she has been making for the past 20 years. Her "three-dimensional drawings" combine collected natural objects like seeds, leaves, moss and stones with linear man made materials, such as metal wire. Many of the materials are found on the artist's frequent nature walks around the San Francisco Bay Area and the Sierras. Newer investigations in her studio practice include earth elements as well as tools or instruments of measuring time, distance and direction.

Ondele, 2019

Ink, washi, acrylic gouache on panel

18 x 24 x 0.75 in.

This piece is from a large and ongoing series. This particular one is singular, but many pieces in this series are combinations of images or sequences of works on paper or panel.

I sew the image onto washi with raffia, then mount it onto panel and continue with ink and acrylic gouache.

I am inspired by the Asian philosophies that emphasize emptying the mind and experiencing the energy that creates all things. I am inspired by the meditative nature of crafts such as basketry, textiles, and Asian calligraphy. I focus on the daily practice of doing an activity that brings me into the present moment.

About the artist:

I have been a working artist all of my life. From an early age I began to wonder "What is this life?" "What is reality?" This led to a life-long habit of reading widely and to study of Asian art and philosophy. My primary interest has been how to use these ideas every day to appreciate and enjoy the wonder of our existence. Working in my studio, walking, and tai chi are my daily practice. Hiking and camping throughout the western United States have provided deep inspiration from the natural world.

After receiving a degree in Art Practice from the University of California, I have made my home and studio in Berkeley, California. My work has been featured at the Berkeley Art Center, shown around the San Francisco Bay Area and is in the collections of numerous hospitals, businesses, and individuals.

Cloud Map, 2024

Monoprint

20.5 x 20.5 in.

Squeak Carnwath draws upon the philosophical and mundane experiences of daily life in her paintings and prints, which can be identified by lush fields of color combined with text, patterns, and identifiable images. She has received numerous awards including the Society for the Encouragement of Contemporary Art (SECA) Award from San Francisco Museum of Modern Art, two Individual Artist Fellowships from the National Endowment for the Arts, a Guggenheim Fellowship, the Award for Individual Artists from the Flintridge Foundation, and the Lee Krasner Lifetime Achievement Award from the Pollock-Krasner Foundation. In 2019, she was inducted into the National Academy of Design and Art. Carnwath is Professor Emerita at the University of California, Berkeley. She lives and works in Oakland, CA.

Untitled C.P., 1970

Artist Proof

Lithograph

24 x 24 in.

American artist, Goro Antreasian, born February 16, 1922 in Indianapolis, Indiana. He received his formal art education at the Herron in Indianapolis, receiving his BFA degree in 1948. He also studied printmaking with Will Barnet in New York at the Art Students League, and Stanley William Hayter at Atelier 17. In 1960, he was invited to be the first technical director of the new Tamarind Lithography Workshop in Los Angeles, which moved to the University of New Mexico in 1970.

As Louise M. Lewis, former assistant director of the University of New Mexico Fine Arts Museum has written, "The name of Garo Antreasian has been synonymous with creative lithography in the United States for the past several decades. Through his teaching and creative activities, his contribution to the techniques and aesthetics of lithography have had a considerable influence on the medium in this country."

Donation from Ruth Braunstein Trust

Sunday Stroll, 2022

Oil on canvas

40 x 30 in.

Sunday Stroll was painted in 2022 as part of my body of work, Black Love in Daylight: A Devotional to Black Men. This piece was created to celebrate the beautiful, nurturing leadership and spirit of Black men, countering narratives that misrepresent their identity. It aligns with my creative practice, which uses art to honor and celebrate the experiences and identities of the African Diaspora.

Sun, Moon, Earth, 2022

Linen thread, acrylic paint, wooden panel

14 x 18 in.

Diane DallasKidd is a Bay Area-based artist whose work addresses the boundaries of craft and contemporary art. Using the language of traditional textile techniques as a foundation, DallasKidd's work is both exploration and meditation on the primal act of making things. Working in multiple series at a time, the artist explores fundamental human phenomena--nostalgia, sentimentality and record keeping.

Courtesy of the Artist

Desert, 2014

Acrylic gouache on paper

31.5 x 25 x 1 in. (framed)

Erina Davidson (b. 1991, Tokyo) is a printmaker and artist currently based in Berkeley, CA. She received her B.F.A in Printmaking from Rhode Island School of Design in 2013. She has been involved with Kala as a teaching artist and an arts administrator since 2018. They are currently the Arts Education Manager for on-site Youth Arts programming and adult classes.

Frame courtesy of Atthowe Fine Art Services

21.02.12.01 Cobalt Blue Cadmium Yellow Deep Hue Cadmium Red Deep, 2021

Watercolor on paper

12 x 12 in.

Watercolor has long been the medium of choice for Nicole Phungrasamee Fein. With a meticulous hand and singular focus, Fein challenges the conventional use of watercolor. Droplets intermingle on paper, creating dense composites of color.

Courtesy of the Artist and Nancy Hoffman Gallery

mugiwara-de 1, 2023

Intaglio and monotype

24 x 18 in.

My artwork explores the intersection of the past and the present, along with what beautiful tensions emerge as a result. Over the last several years, I have devoted myself to studying Japanese history and culture, particularly with an eye on Mingei - or art objects made by ordinary people during the Edo period. Mugiwara-de (wheat stalk) refers to a kind of stoneware first made popular in the Edo Period. Mugiwara-de stoneware was used daily for rice and soup, but its function and design has been loved for centuries because it bears a simple, yet refined aesthetic. I continually ask myself what it means to incorporate and reimagine Mingei in today's modern art context; this question allows me to creatively bridge a gap of over four hundred years and shed a new light on a tradition not only time- honored, but time-bound as well.

Como Say Drama #2, 2025

Acrylic, pencil, ink, spray paint, enamel pen, collage on sheetrock

15 x 12 x 2.833 in.

Humor plays a central role in my work, allowing me to explore and poke fun at my own self-perceptions and the complexities of my interests. In this piece, I focus on self-critique and the exaggerated drama often created by my inner thoughts. The use of the Spanish phrase, "Como se llama?", is altered to Como se drama?" to humorously draw attention to the way we question and redefine ourselves, highlighting the absurdity of the self-imposed drama. It's a playful way of reflecting on how we get caught up in our own narratives, adding unnecessary layers of drama to something as simple as self-definition.
The distressed quality of this work is consistent throughout my practice, symbolizing the passage of time, memory, aging, and the deeper complexities of life. The materials-salvaged from a home demolition-serve as a metaphor for renewal, giving new life and meaning to things that might otherwise be discarded, much like how we redefine and grow through time. This piece is an extension of my ongoing exploration of self, identity, and the layers we create as we question and redefine our personal narratives.

Shreds, 2024

Mixed media

12 x 14 x 2 in.

My inspiration comes from my interest in giving new meaning to everyday, used objects and materials, and making the common and discarded, uncommon and precious.

I like to combine various print media such as: monotype, screen-printing, linocut, and cyanotype; using and reusing materials such as paper, wire, and fiber, - in order to create my mixed media art.

I have always thought of my work as improvisation, a matter of responding to what I have just created with the materials.

My approach to making art is as a gradual process, elements arising organically out of their interactions with each other, sometimes leaving traces even when they are covered by later additions.

I experiment with different materials, substances, and techniques, trying to push the limits, in order to open to the viewer to explore and become emotionally engaged with the art.

About the artist:

Ewa Gavrielov works and lives in the San Francisco Bay Area. She has earned a bachelor of Architecture from the Technion Institute of Technology in Israel, and a graphic design diploma from the Art Institute of Boston, and worked as an architect, and a designer. Gavrielov has participated in group and community shows in various Bay Area locations, such as Los Gatos Art Museum, San Jose ICA, Mountain View Center for the Arts, Pacific Art League Palo Alto, Packard Children's Hospital Center for Nursing, and Kala Art Institute. Her artwork is also shown in private collections in the Bay Area and in Israel.

Rearrangements: To be honored. To be remembered., 2024

Watercolor with silkscreen

Edition Varee 10/14

16 x 20 in.

Rearrangements: To be honored. To be remembered. is an edition varee of silkscreens on watercolor accompanied by recorded conversations with Dr. Isabel Trecco Hawkins and Dr. Aparna Venkatesan and myself. Dr. Hawkins is an astronomer, Senior Scientist, and Director of the Osher Fellowship at the Exploratorium. Dr. Venkatesan is a cosmologist, Professor of Physics and Astronomy at University of San Francisco, and an advocate of preserving dark skies and active in space policy. We are three mothers at different stages of parenting from three different cultures who share a love of the night sky.

This print is part of a new, in-progress body of work - recorded conversations, watercolors, silkscreens, and hand formed paper. I move and invert letters with liquid materials. Watercolor and pulped fabrics renders permanent language malleable. I borrow fonts from hard monuments and shift them to soft paper. Rearranging text attempts to override what is written in stone.

Made with ongoing support from The Space Program San Francisco. Silkscreens printed with Ben Venom. Recordings edited with Brian Delaney.

Courtesy of the artist. Made at The Space Program San Francisco and printed with Ben Venom.

Game Plan 2, 2020

Ink on paper

10.5 x 14 in (unframed)

14 x 17 (framed)

Amy Kaufman's work exemplifies formal explorations, drawing inspiration from such traditions as illuminated manuscripts, mosaic tile work, and miniature paintings where detailed patterns and intricate forms take on new meaning and significance in the absence of literal, figurative or representational references.

Kaufman also finds source material within the fabric of everyday experiences where treasures of pattern and form lie unseen to many. These serendipities, whether found in brambles of branches, cracks in tiles, patches of street repair, or tire treads become transformed and extraordinary in her hands.

Kaufman's art is a testament to the limitless possibilities and transformative power of abstraction. Through her work she shares a painterly record of the path of discovery, where each piece presents a visually compelling dialogue in which the boundaries of meaning and reference are fluid.

Courtesy of the Artist and Traywick Contemporary

Double Exposure: 21st Street, 2024

Letterpress pressure print

18 x 12 in.

This piece is part of a series of composite images that combine elements of different memory spaces into invented and surreal architectural combinations. I created the image using a wood carving technique applied to thick paper, then running this low relief matrix through the letterpress behind the printing surface over a field of color, resulting in a fuzzy, less crisp image, like memory itself.

Laverne, 2013

Gouache and charcoal on Fabriano paper

34.5 x 26 x 2 in.

Women's narratives, within the context of society and culture, is an underlying theme in Lundy's work. Born in Portland, Oregon in 1974, to an Italian immigrant mother and an American father, Monica Lundy went on to spend her formative years as a child in Saudi Arabia, where her awareness of sexual discrimination and oppression was experienced first hand. Lundy's mixed media paintings focus on narratives of women from all walks of life, employing a wide range of painting materials and techniques ranging from traditional methods to experimental and ephemeral ones. Painting methods and mediums she has used include: ephemeral terra-cotta clay installations, liquid porcelain mixed with pigment on panel, coffee, burned paper, pulverized charcoal, mica flake, gouache, acrylic and oil paints.

With a BFA from the School of the Art Institute of Chicago (1996) and an MFA from Mills College (2010), Lundy's site-specific installations have been featured in historic locations including Alcatraz Island, Fort Point, Montalvo Arts Center, The American Academy in Rome and Santa Maria della Pieta; a decommissioned psychiatric hospital in Rome. Among other accolades, she has been the recipient of the Jay DeFeo Prize, an Irvine Fellowship, a SFAC grant and was a Visiting Artist and Scholar at the American Academy in Rome. Her work has been reviewed in Vanity Fair Italy, ARTNews, KQED, Huffington Post and Visual Art Source among other publications. In 2022 the monograph, Monica Lundy, was published by Silvana Editoriale in Milan, Italy. Lundy currently lives and works in both Los Angeles and Rome.

Courtesy of Nancy Toomey Fine Art and the Artist

Otro Mundo, 2023

Acrylic on panel

18 x 24 x 1.5 in.

I make perceptually-charged geometric abstractions - using semi-transparent colored packing tape from Mexico as a painting medium, as well as working in acrylics, printmaking and murals. My work engages ideas of aliveness, multiplicity and relationality. I am inspired by the shimmering radiance of nature, resting in present-moment awareness meditation, and the pleasures of a body in motion. I aim for compositions that activate the eye and reward sustained viewing with shifting patterns and unfolding dynamic relationships of shape and color. In this way my work is an invitation to slow down and observe your mind seeing, thinking and feeling.

I am a self-taught artist, former New York City public school teacher, arts lawyer in San Francisco, and asylum staff attorney for the Ninth Circuit Court of Appeals. I was a parent-artist residency awardee at Kala Art Institute. My work has been shown at the de Young Museum, Galeria de la Raza, Mission Cultural Center for Latino Arts, Marin Museum of Contemporary Art, Root Division, Southern Exposure, Seed Gallery, Your Mood Gallery, Hang Art, Soho20 Gallery, SCOPE Miami Beach, Art Miami, and in four solo shows with Farm Projects. My work is in the collections of Google, CIC and the California Tennis Club.

She, Her, and I, 2018

Etching, printed on Japanese gampi, chine colle, mounted on Somerset satin

3 x 3 in. (image dimensions)

12 x 9 in. (paper dimensions)

14 x 10.5 in. (framed dimensions)

Golbanou Moghaddas is an Iranian-American narrative artist based in San Francisco, California. She holds an MFA from San Francisco Art Institute (SFAI), and an MA in communication design from Central Saint Martins College of Art in London, UK. Her visuals offer unorthodox narratives deeply rooted in her Persian heritage, enriched by metaphors and symbolism. She aims to transform the earthly unpleasantness into a setting akin to a beautiful Persian miniature. Her work expands from editorial illustrations to fine art etchings and drawings.

Homage to Leopoldo Mendez: Against the Blessing of Nuclear Power, 1987

Linocut

15.75 x 24 in. (image)

20.75 x 28 in. (paper)

FMV: $1000

Emmanuel Catarino Montoya, a descendent of Apache and Mexican heritages, was born in Corpus Christi, Texas on April 16, 1952. Montoya resides in the San Francisco Bay Area where he attended public schools. He received a Bachelor of Arts degree in 1985 and a Master of Fine Arts in printmaking in 1991 from San Francisco State University.

According to Montoya, the Chicano Movement of the late 1960s and 1970s, the master printmakers and muralists of 20th century Mexico and Latin America, and the Federal Art Project Works Progress Administration in North American during the 1930s and 40s, influenced his style. When he was a young artist living in San Francisco n the 1960s, Bill Graham's rock concert posters, with their splashing, colorful imagery and flowing text that represented the art and music of the time, had a major impact on the art he was producing.

Emmanuel Montoya taught printmaking, mural painting, and drawing throughout California for thirty years. He completed numerous public art commissions for the Mission Branch Library, San Francisco; the international terminal at the San Francisco International Airport; the College of Fine Arts at San Francisco State University; Whole Foods Market in Cupertino, California; and the Alameda County Arts Commission. The Graphic Works of Emmanuel C. Montoya was presented at the National Museum of Mexican Art in Spring 1988. In 2014, he received the Kala Art Institute's Master Artist Award in recognition of his contributions to the fields of art and art education.

Montoya is represented in the collections of the La Salle University Art Museum, Philadelphia, Pennsylvania; Library of Congress and the Smithsonian American Art Museum, Washington, D.C.; McNay Art Museum, San Antonio, Texas; and the Mexic-Arte Museum, Austin, Texas.

Who Spins All Creation, 2022

Collage with inkjet print and acrylic wash

18.25 x 26 x 1.5 in.

She Who Spins All Creation is a work from my Re-source series, created in 2022 during the COVID-19 pandemic. In this series I am using collage to speak to the impact of the commodification of food and farming on our relationship to the natural world and our own bodies. In this particular work I begin with mundane photographic images of the grocery store that I have cut into using the shapes of food products. This process of removal is a metaphor for the extractive nature of domestic labor and it's social invisibility. Like land that is asked to produce the same crop year after year until the structure of the soil deteriorates, unseen labor strips the soul of its fecundity. Lurking beneath these lattice-like forms are hand-painted gestures that vacillate between streams of blood, plow rows, and spider legs. Together, these images acknowledge what has been taken through overconsumption of resources and women's labor, yet they offer an image of regeneration through the nutritive and powerful feminine energy that continues to connect us to the natural world.

Framed by Mark Ryan Fine Art

TAKE ME TO YOUR LEADER (Arnaldo Pomodoro U.C. Berkeley Campus), 2018

Archival pigment print

32 x 23 in.

This is an example of random street photography which I have practiced for almost fifty years and which has resulted in four books of my photography being published.

Donation of the Artist and George Krevsky Gallery

Mounted on board by Eric Rose Fine Art Services

Sleeping Dreams I Have: Open Cove, 2025

Cyanotype on paper

19 x 24 in.

Elaine Nguyen is a Vietnamese-American artist exploring identity, displacement, and the search for home alongside the discovery of new dreams. She uses cyanotypes to capture the fluidity of memory and the passage of time through light. Interested in the emotive aspect of immersion in water and sky, she utilizes blue to convey a sense of wandering and seeking. Her works take on the shapes of clouds, reminiscent of cultural symbols that become sleeping dreams waiting to be discovered, or light filtering through spaces longing to be remembered.

Hiba Cedar Study (white), 2024

Acrylic ink on book boards

14 x 11 x 1 in.

I am an installation artist who works with a variety of materials including wire, used book parts, graphite, found wood and metal. I create bodies of work that explore the interplay between light and shadow, 2D drawings and 3D sculptures, and the way objects and drawings can energize and animate the space around them.

Courtesy of Seager Gray Gallery

Interference Vibration Diptych, 2024

Polychrome woodcut and acrylic on panel (unique)

24 x 50 in.

Using structured patterns and precise color interactions to create a perceptual field, the work shifts and vibrates with the viewer's movement. The image does not remain static but instead pulses and oscillates, engaging the eye in a dynamic, ever-changing experience. This instability mirrors the way sound waves propagate through space-fluctuating, overlapping, and resonating in ways that are both mathematical and organic.

The work investigates how the brain processes visual information, particularly in relation to rhythmic repetition and harmonic interference. The carefully layered forms generate moire effects and chromatic distortions that challenge the boundaries between surface and depth, presence, and illusion, creating a sensation of movement that is purely optical yet deeply physical.

This phenomenon is central to my broader practice, where I translate the imperceptible forces of vibration-whether sound waves, light waves, or energy fields-into visible, tangible structures. By activating the eye's natural response to contrast and frequency, this work extends beyond passive viewing, becoming an immersive encounter where the act of perception itself becomes part of the composition.

Courtesy of Jonathan Carver Moore

99, 2016

Collage, letterpress

16 x 13 in. (framed)

The idea that men wore suits to work seemed funny to us then. Our dad left the house in jeans and huaraches with thick wool socks, a shapeless sheepskin coat draped over his shoulders like a caveman cape. I pictured the place he went as a series of big, cool rooms, stacks of paper everywhere covered with penciled calculations, like the ones he left all over the house: stories I would never be able to read. It didn't really matter if he was here or there. He was always parsing problems and possible solutions, or pretending to. It was easier that way.

Courtesy of Seager Gray Gallery

Equal Pay, 2022

Metal justice scale, dollar bills, acrylic, ink

16 x 17 x 5 in.

Equal Pay is a reflection on the ongoing gender wage gap. I created this piece using a vintage justice scale, a symbol of fairness and balance. Atop the scale, I painted the eagle pink to represent feminism, freedom, and equality.

On each side of the scale, I placed approximately $150, but with a deliberate contrast. One pile is painted pink and stamped with Equal Pay, while the other remains unpainted and unmarked. This imbalance mirrors the financial disparity that women continue to face, despite doing equal work.

By using real money as both material and message, I aim to highlight the urgency of wage equity and spark conversation about the systemic barriers that persist. Equal Pay is both a statement and a call to action-a reminder that the fight for economic justice is far from over.

Courtesy of Michele Pred and Nancy Hoffman Gallery

Untitled (Time Ball 2), 2024

Mica and watercolor on 300# Fabriano paper

12.5 x 9.5 in.

These small watercolors are inspired by Ititamat/ Yakima Time Balls. Made by Yakama women throughout their lives, these objects hold and mark time with knots or beads. My paintings chart time through accumulated layered strokes of transparent, opaque, and micaceous watercolor.

Courtesy of the Artist and K. Imperial Fine Art

As We Watched, 2025

Acrylic, watercolor, acrylic ink, waterproof in on silk mesh

24 x 30 in.

I was asked to donate a piece for the auction , but instead of giving an old piece I decided to make something new to reflect this time of great turmoil, polarization, change and the existential threat rapidly materializing that threatens just not the nation but the globe. I think a lot about Weimar Germany before 1933 and warnings unheeded and I feel apathy and compartmentalization were among the main problems. So this is a painting about apathy and also connecting the present with the past through including a couple figures from the civil rights and Camelot. Ultimately the portraits of Jackie Kennedy and Martin Luther King interrogate our moment, are nation and hopefully foster comparison and critical questions. I hope the viewer asks themselves, as I ask all the time, "Will we watch or will we act"?

Unidentical, 2023

Mixed media sculpture

7.5 x 6 x 4.5 in.

An example of my found object constructions.

Courtesy of Jack Fischer Gallery

Slava Ukraini, 2025

Mixed media

11.5 x 9.5 x 1 in. (individual), 11.5 x 19.75 x 1 in. (together hanging 1 in. apart)

Like all my work, this piece is made from material that carries a history, which I honor and extend into a heightened presence and expanded meaning. Unlike my other work this diptych, engages directly with an ongoing geopolitical catastrophe. Its colors are those of the Ukrainian flag; representing a golden field of wheat and clear blue sky. It depicts these colors in their vertical orientation but reversed. A reversed flag communicates dire distress. Many Ukrainians have flown their flags reversed since Russia's invasion of Ukraine's Crimean Peninsula in 2014, and many more do now, including most of the military units fighting to repel the current Russian invasion. The title, "Slava Ukraini" means "glory to Ukraine." It is the beginning of a famous patriotic call and response that evokes Ukrainian sovereignty and unyielding resistance to foreign aggression.

Poppies, 1992

Acrylic

24 x 48 in.

Rico Solinas is a plein air landscape painter, working in a genre rarely encountered in the contemporary art world. His subject matter is largely focused on San Francisco and its environs; he has made thousands of works depicting the city: from its manufacturing sites and remnants of a military-industrial complex to scenes featuring famously tilted streets.

Courtesy Anglim Trimble Gallery

Shanna Strauss & Jess Sabogal

For The People, 2024

Photopolymer gravure, silkscreen, and chine-colle, copperplate

22 x 30 in.

This artwork celebrates the trans movement as a global liberation movement for all peoples. Referencing historical struggles for self-determination, it honors those who have fought for the right to exist. Central to the piece are two swans, a nod to William Dorsey Swann, the first documented self-proclaimed drag queen, whose life embodied defiance and resilience. Embroidery patterns woven throughout draw from global liberation movements, including the Zapatistas and the Black Panthers, emphasizing that freedom is collective. The work also confronts the policing of women and gender-expansive individuals' bodies, asserting our inherit birthright to exist as ourselves, free from harm.

Kappi, 2025

Gouache, gesso, wood

21 x 17 x 1.5 in.

A San Francisco-based multidisciplinary artist, Tan was born in Houston, Texas, but spent most of her childhood in the Philippines. She moved to San Francisco to attend the San Francisco Art Institute and stayed on to continue her practice. Working in a wide range of mediums - from sculpture to performance - Tan is especially interested in examining cultural subjects including assimilation, consumer culture, digital loss of imagery via facsimile, and post-colonial immigrant diaspora. In her current work, Tan draws inspiration from her grandmother, one in a long line of weavers. Tan discovered her grandmother - a tailor and embroiderer by trade - had produced traditional Filipino tribal weavings. Intrigued, Tan looked further. With her grandmother no longer alive, Tan turned to her computer, discovering a world of intricately patterned tribal weavings through a digital interface of pixelated images, each pattern reflecting a symbolic meaning. Tan's large works of immersive woven structures highlight the painstaking practice of both her grandmother's textile work and her own.

Courtesy of the Artist, special thanks to Spot Design for in kind framing

July Ode to W.S. Merwin, 2024

Acrylic paint and ink on linen with stitched kogin thread

16 x 12 in.

My work investigates language's structure, rhythm and codes. Thinking about language, writing systems, forms of communication and its myriad of meaning have been a continuous thread in several bodies of work. Creating short narratives, translations and the distillation of language are a reoccurring fascination. Referencing a familiar thought or phrase creates a structure of rhythmic arrangements of text, texture and context, tapping into the musicality of language, both spoken and read. Creating textual wordplay arrangements are a form of inquiry and prompt a reflective question. An inquiry into what is visible and invisible, what we may see or not see, what may be deliberately left out and the way we encounter a text that is not yours. Invisibility and presence that may be unnoticed. Recent work weaves together ideas about the way we look for meaning that may be hidden or implied and is not explicit.
"July Ode to W.S Merwin" is inspired by Merwin's brief but beautiful poem, "Separation"

Fugue, 2021

Oil and painter's tape on panel

16 x 17 x 2 in.

This is a rare piece incorporating collage. After masking an area, while removing the tape, a piece tore to produce an interesting shape. I liked the composition enough to leave the element as part of the final piece. The title, "Fugue" relates to my feeling that a work of visual art can be experienced in a similar way that one would experience a musical piece or literary poem.

Statement:

The objects I produce are interrogations. They exist as curious inquiries into the ostensible dichotomy between the human animal and mutating partitions of nature. Using painting as a language, I propose mysterious, abstract narratives which are simultaneously given ground by familiar, objective imagery. Amalgamating scientific, genetic and anthropological source material, I survey and ultimately depict hybrid landscapes where diverse aspects of human physiology mesh with the origins of species. Through the merger of these methods, my exploration into the creative process develops.

Bet, 2022

Acrylic, latex, thread, pieced found fabric

20 x 17 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.

Love Story, Part Two, 2021

Acrylic, latex, pieced found fabric

15 x 14 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.

Log Pile Variation, 2021

Reduction woodcut

20 x 26 x 1 in.

Nature is always the source for my imagery and in this case the logs which were piled at the side of the road during the pandemic, served as a metaphor for loss.

About the artist:

Donna Day Westerman was born and raised in the suburbs of Detroit and at age 14 attended the Detroit Institute of Arts and Crafts (now the Center for Creative Studies), followed by the University of Michigan. She began her professional career at the age of 14 when she produced greeting cards for National Artcrafts. In 1960 she moved with her family to Boston, where she attended the Boston Museum School. After a year in Spain and England, where she attended London Polytechnic, she returned to the family home in Tustin, California, and enrolled in the masters program at Otis Art Institute. She majored in painting and printmaking and graduated summa cum laude in 1966. She is now a professor emeritus, retired after 32 years at Orange Coast College, where she served as department chair for 20 years and taught printmaking, painting, experimental painting, illustration, life drawing, color and design, computer graphics, set design and humanities.

Currently, she is an artist-in-residence at Kala Art Institute in Berkeley and also works out of her studio in the historic Arsenal Building in Benicia, California. She is currently developing a new body of work based on natural elements and her surroundings.

screen mediated unraveling (yellow), 2025

Mixed media collage fragments of relief and monotype prints

11 x 14 x 1.5 in.

Each of the fragments collected in this collage were printed at Kala. Polymer plates from a letterpress class and relief prints and monotypes sent through the etching press. Prints, performances, drawings and 3D objects are always excavating concerns of carrying care.

Encrypted, 2022

16 x 15 in.

Screenprint on paper

Kelley O'Leary is a interdisciplinary artist based in El Cerrito, CA. Working across mixed media installations, video, drawing and sculpture, she explores relationships between digital media and cosmic material bodies. Kelley is a member of Imaginaries of the Future Collective, a self-organizing nomadic collective of artists and thinkers. She is co-curator of the Bay Area-based new media art salon, Living Room Light Exchange.

Siena Series #66, 2013

Oil on wood panel

17 x 17 in.

For many years I have been interested in the beauty and quality of line and have used painting as a medium to explore this interest. I spent a sabbatical leave in Italy and the experience opened a new direction for my work. In Rome I was amazed by the Italian aesthetic: design, architecture, color, balance and form. I began to think of my paintings as units of design with placement and balance of primary importance.

These paintings begin with a ground of burnt or raw siena, which is the same color found in Roman masonry. A near-white is achieved only after dozens of layers of tonal modulation are added. Form and balance are achieved through line. Line can be light and almost invisible, made of graphite and pushed back in space under layers of glazing; or line can invoke deep space, through dark tones and wide dimension, at times with a blue aura emanating from black.

The Italian experience has become so valuable to my work that I continue to return to Italy almost every year in an effort to better understand and appreciate this remarkable heritage.

Sarape Track, 2015

Print on archival paper

26" x 34"

The extent of the work of experimental composer, sonic architect, performance artist and visual media artist Guillermo Galindo, redefines the conventional limits between music, the art of music composition and the intersections between art disciplines, politics, humanitarian issues, spirituality and social awareness.

In 2011 Galindo embarked on a unique collaboration with lauded American photographer Richard Misrach which became a traveling exhibit and an award-winning book published by Aperture Foundation. Border Cantos features Misrach's photographs of the U.S./ Mexico border and Galindo's sonic devices and graphic musical scores created from detritus left behind by immigrants and the border patrol apparatus.

Selected venues that have exhibited Border Cantos include: The Cantor Museum, Stanford, California (2021), The High Line, New York, (2021), Westmorland Museum, PA (2021), The Institute for Contemporary Art, Boston (2019), Cornell Fine Art Museum, Florida (2019), Crystal Bridges Museum, Bentonville, Arkansas (2017), Pace Gallery, New York (2017) and the San Jose Museum of Art (2016).