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

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Seeing it Said #5, 2021

Ceramic tile

12 x 12 x 1 in.

FMV: $4500

Beginning in the late 1980's, Jim became widely known for his extraordinary work with broken ceramic tiles. Melchert would intentionally shatter his ceramic tile exposing weak bonding in the interior structure. He would then reassemble them according to a set of self-employed instructions. Embedded in his artwork, we see a continued interest in interiority, but also a philosophical concept that something broken can be repaired and made stronger and more beautiful. Jim once said, "I'd like to think that what I make by way of artwork contributed to our communal effort to expose something we have yet to know."

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

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.

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

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

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, Garo 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

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

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

21.02.12.01, 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.

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.

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.

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

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

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

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

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

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.

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.

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.

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

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)

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.

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

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

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.

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.

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.

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 moirÃÆ'Æ'Æ'ÃÆ''Ã'Ã'© 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

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.

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

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

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"?

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.

Unidentical, 2023

Mixed media

7.5 x 6 x 4.5 in.

An example of my found object constructions.

Courtesy of Jack Fischer Gallery

Green Aromas, 2018-19

Acrylic on panel

12 x 12 in.

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.

Kataba, 2005

Steel, acrylic paint, acrylic lacquer paint

15 x 15 x 9 in.

Joseph Slusky is best known for his whimsical painted metal sculptures made from recycled scrap metal. Influences include metal toys, LA car culture, Constructivism and other twentieth century art movements. The sculptures explore realms of the subconscious and are fossilizations of the imagination.

Courtesy of the Artist

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

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. During the Covid-19 pandemic, Solinas traveled daily to the Bayview-one of the area's few yet-to-be gentrified neighborhoods-to complete new gouaches of its streets and storefronts.

Courtesy Anglim Trimble Gallery

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

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.

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.

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.

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.

Winters' Marking, 2019

Woodcut print of 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.

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.

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.

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.

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

But How You Carry It, 2021

Multiple linoleum block print

27 x 17 in.

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.

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.

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).

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!