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Pencil, paint on paper
5.5 x 4 in.
Libby Black is a painter, drawer, and sculptural installation artist living in Berkeley, CA. Her artwork charts a path through personal history and a broader cultural context to explore the intersection of politics, feminism, LGBTQ+ identity, consumerism, addiction, notions of value, and desire.
Courtesy of the artist and Anthony Meier, Mill Valley
4.25 x 3.5 in.
Pencil on paper
4.5 x 4.25 in.
Pencil and paint on paper
4.5 x 5.75 in.
6.5 x 4.25 in.
Photogram - Gelatin silver print
14 x 11 in.
Sycamore Leaf, from the photogram series, The Secret Life of Plants, explores the intricacies of life by revealing the delicate details hidden within plants. Through this work, I seek to spark a sense of wonder, inspiration, and imagination in the viewer. It is a subtle way to invite the viewer to slow down, look closely, and become more aware of the natural environments that surround us.
In my ongoing series, The Secret Life of Plants, I create photograms: photographs that are made without the use of a camera. This 19th century process has an immediacy, rawness, and captures truths that are often elusive in traditional photography. This photogram is created by placing the leaf directly onto black-and-white photographic paper and exposing it to light, allowing the form and intricate details of the leaf to be recorded.
Courtesy of Ron Moultrie Saunders
Frame Courtesy of Sterling Art Services
Sepia toned photogram
10 x 8 in.
Acacia Blossoms, from the photogram series The Secret Life of Plants, explores the intricacies of life by revealing the delicate details hidden within plants. Through this work, I seek to spark a sense of wonder, inspiration, and imagination in the viewer. It is a subtle way to invite the viewer to slow down, look closely, and become more aware of the natural environments that surround us.
In my ongoing series, The Secret Life of Plants, I create photograms: photographs that are made without the use of a camera. This 19th century process has an immediacy, rawness, and captures truths that are often elusive in traditional photography. This photogram is created by placing the flowers into an enlarger and projecting it onto the photo paper.
Frame courtesy of Sterling Art Services
LIVE AUCTION ITEM- This is a live auction item.- You may start bidding online now through 12pm (PST) on Saturday April 25, 2026. Submit your pre-bids for live auction items to ellen@kala.org by 12PM PST on Saturday April 25. You can also call or text Ellen at 510-520-6438 for any questions.
Color lithograph23 x 28 in. (paper)12 x 16 in. (image)FMV: $4,000.00
Robert Bechtle (1932-2020) was an American painter associated with the Photorealist movement. Born in San Francisco and based in the Bay Area for most of his life, he became known for his meticulously rendered paintings of everyday suburban scenes-especially cars, houses, and quiet streets.
Working from photographs, Bechtle translated ordinary moments into highly detailed, subtly composed images that blur the line between photography and painting. His work is noted for its calm, observational quality and its focus on mid-20th-century American life. He taught for many years at San Francisco Art Institute and remains a key figure in West Coast Photorealism.
Printed by Don Farnsworth at Magnolia PressCourtesy of Bechtle Chadwick TrustFrame Courtesy of City Picture Frame
Color aquatint20.5 x 21.75FMV: $3,500.00
This work is part of a series entitled The History of Photography Remix. The series as a whole presents a personal, aesthetic, and critical interpretation of the medium and its history. Inspired by a class on photography at Stanford University, Ezawa decided to create his own unofficial historical survey in the old-fashioned format of the art-historical slide show. He chose forty photographs from various sources and, through a process combining hand-tracing and computer manipulation, translated them into minimal yet evocative versions of the originals.
Courtesy of Kota Ezawa and Paulson Fontaine Press
Frame Courtesy of Eric Rose Art Services
Woodcut, drypoint, hand painting15 x 11 in. (paper)FMV: $800.00
Ellen Heck has received degrees from the School of the Art Institute of Chicago and Brown University. She works as a printmaker in North Carolina and is represented by galleries in the United States and the United Kingdom.
Over the past decade, through several print projects, she has explored specific questions about identity-its creation, variability, persistence and change-by combining subject matter and thematically resonant printmaking techniques.
Frame courtesy of Small Works
Watercolor on paper
22.5 x 22.5 in.
FMV: $3,075.00
"By magnifying that which is small and temporary in nature - flowers and moths from my garden become poignant reminders of the transience of life. Throughout history flowers have represented fertility and birth while moths have been associated with death and decay. So I combine flowers and moths to suggest the interconnectedness and fragility of life where birth, aging and death are intertwined and nothing remains constant."
Ellen Little is a San Francisco-based artist known for her large-scale watercolor paintings that explore the fleeting beauty of the natural world. Originally from Los Angeles, she studied at Art Center College of Design before working in advertising and teaching in New York, then founding a graphic design firm after relocating to San Francisco. Since 2009, she has focused on painting, developing a distinctive practice that magnifies flowers and moths to reflect on themes of transience, fragility, and the interconnected cycles of life. Her work has been widely exhibited and collected by both private and public institutions, and she is also the founder of Dogpatch Collective, a vibrant community of artist studios in San Francisco.
Frame courtesy of Eric Rose Art Services
Steel
25.75 x 11.25 x 0.25 in.
It continues my process of drawing with dimensional material.
Courtesy of the artist and Chandler Gallery
Chalk, flour, graphite, ash on antique paper
18 x 12 in.
This is the beginning of a new series of what I call Ghost Birches (Geisterbirke) done in Chalk, flour, graphite and ash on paper.
Courtesy of Chandler Gallery Mill Valley, CA
Frame courtesy of Sterling Fine Art
Silver gelatin print
7.5 x 9.5 in.
This picture is in the continuum of my practice to document the many ways in which the lives of people and the lives of trees intersect.
Textile
17.5 x 16 in.
Daily we witness odious attempts to erase this nation's past as though it never happened. But in the truth of our collective history, sorrow coexists with joy; hope is twinned with misery; hate with love; charity with greed. All are woven too deeply into the fabric of this country and especially into the memories of my ancestors, to be undone by the clumsy attempts of the willfully ignorant. As with all my work, this piece is created solely from fabric and thread without the use of paints, dyes or other surface treatments.
Woodcut
10 x 8 in. unframed
14 x 11 in. framed
My studio practice is rooted in the materials and processes of printmaking. My printed works use a language of landscape and abstraction to reflect on the poetics of space and the relationship between place and human experience. Since 2024, this work has focused on coastal habitats and the dune ecology of the California coast. "Coastal Buckwheat Early Bloom" is part of an ongoing project of documenting a habitat restoration site in San Francisco's Sunset district.
Wood, paint, metal
12 x 4 x 18 in.
The knick knack, slang for an art object of a lesser stature, can be an eloquent substrate for manipulation. Allowing the object's history to be pondered, elevates its status as a reliquary of memories.
Courtesy of the artist
Oil on panel
24 x 12 x 0.75 in.
Drew Bennett (1981) is an Oakland-based painter grappling with his relationship to the natural world and the way the human body interacts in and around it. Bennett interprets the process of painting as similar to communion with nature in that they are both efforts towards heightened presence through direct experience and observation. Bennett's oil on wood panel paintings depict back-to-the-land sublime scenes of nature from his and his friends' lives, and are as specific to Northern California as the Ashcan School was to New York. Bennett's vertical orientation of landscape reflects his own experience of image consumption, art history, and present day sociological phenomena, and most profoundly a spiritual narrative intrinsic in this orientation that expresses the totality of a place as his subject matter, rooted in the earth reaches upward, drawing our attention into the sky, its primordial light source.
Multi-media
My work is a constant exploration of materials and mark making; my subject matter typically zeroes in on a specific moment. In this case, I layered the substrate with various papers, then created the composition by surrounding a central figure in motion in layers of line, color, and more texture.
Photopolymer plate and gouache
21 x 17 x 1.5 in.
This piece marks a departure from my typical materials and methods, yet remains grounded in my ongoing engagement with labor and care through process and memory. It captures a fleeting moment in nature where light and dark coexist, revealing two rainbows held in balance.
Monotype on paper
6.875 x 9.625 in. (image)
12 x 14.25 x 1 in. (framed)
I explore my own psychology, and what I am thinking/feeling is made manifest in the images I create. Rather than laboring and analyzing, going with my instincts is key. I also feel that the individuals present in my work represent different aspects of myself. Drawing with a variety of tools into ink rolled onto Plexiglas helps me get in touch with the process of making images, and I trust that years of exposure to and making of art will lead to a few successful prints on any given day.
This specific print is part of my ongoing Portrait series, which I continue to work on in between small series of monotypes that are each based on the same preliminary sketch. I recently reached the magic number of 50 total prints that comprise the Portrait series.
Etching (hardground, aquatint, flatbite)
18 x 21 in.
This piece is from a series of 100 etchings reflecting on melting pack ice I observed in Svalbard. Throughout the course of making the series, I destroyed the copperplates used to make the etchings in acid. Letting go of control and working with what the acid left behind mirrored the melting of the ice.
I use experimental etching and drawing techniques to process at-risk local and global environments. A fascination with natural elements and transformation fuels my work. I am particularly interested in air currents, fog, and bodies of ice and water. I am heavily influenced by the famous pale blue dot photograph, onsite studies in the Arctic, and geologic deep time. My imagery is often fragmented as if swept away on the wind or lost to time. Atmospheric shapes chase and erase solid forms as imagery disappears and reforms. This sense of losing one's way within the work echoes the damaging ways in which geopolitics and capitalism have affected planetary health.
Acrylic on museum board
10 x 16 in.
Is it a painting? Is it a sculpture? An artist's book? A miniature screen? Shapeshifters are one-of-a-kind folding artworks designed to create a small space in which to let your imagination roam free. In Shapeshifters I play with expansion and contraction and differing viewpoints, as well as offering the possibility of interaction by the viewer. The folding format alludes to the unfolding of time and space and offers the potential of change and new vision. Shapeshifters are constructed from museum board with mulberry paper hinges. The acrylic paint is applied in layers to create depth and luminosity. Meditative, expansive, reminiscent of many eras, each Shapeshifter is a unique artwork, a place to rest and let your mind wander.
Oil on linen
18 x 24 in. (unframed)
19 x 25 x 1.5 in. (framed)
The varied architecture of the bay area and especially Victorians is a recurring motif in my work. I'm inspired by the vibrant colors, interesting and repetitive shapes, and the sense of nostalgia that they evoke. I often take long walks around different neighborhoods for inspiration and I thought this was a hidden gem.
Screen print on bookboard
30 x 21.75 in.
Encaustic, tempera, and milk paint on wood
14 x 11 x 1.5 in.
My Threshold paintings draw from a time of big transition. Using a brayer, a print maker's rolling tool, I render layers of milk paint, tempera, or graphite. These materials are porous, allowing wax to penetrate through them and hold onto the wooden board beneath. I don't cover the entire surface with the wax, letting the viewer experience how the encaustic medium adds physical dimension. These works embrace the repetition in remaking and the transformation that's possible in mishap. They acknowledge that getting from one state to another is worth the effort.
Color hardground etching and sugarlift aquatint with drypoint
40 x 39 in. (print)
40 x 39 x 2 in. (framed)
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.
Courtesy of Paulson Fontaine Press
Frame courtesy of City Picture Frame
Daguerreotype
8 x 15 in. (plate)
13.625 x 20 x 1.8125 in. (framed)
Binh Danh reimagines traditional photographic techniques to explore history, identity, and place. Known for his contemporary daguerreotypes of national parks, he creates reflective images that invite viewers to see themselves within the American landscape. His work is held in major collections, including the Smithsonian American Art Museum, the National Gallery of Art, SFMOMA, the de Young, and the Asian Art Museum. In 2023, his book Binh Danh: The Enigma of Belonging became the first recipient of the Minami Book Grant for Asian American Visual Artists from Radius Books. He is also an associate professor of art at San Jose State University.
Courtesy of the artist and Rose Gallery, Santa Monica; Lisa Sette Gallery, Phoenix, AZ
Acryla gouache on paper
7 x 10 in. (unframed)
13 x 17 x 0.25 in. (framed)
Textile collage with found fabrics and embroidery
18 x 18 x 1.5 in.
I've been working in photo-based textiles and textile collages for the past 10 years. During a recent residency at Kala, I created new textile works that incorporate found fabrics and digital embroidery with hand sewn elements.
Lithograph, chine colle, metallic pigments
22 x 30 in.
Roy De Forest was an American painter best known for depictions of bizarre, often humorous scenes. Painted in vivid color, his works are frequently populated by cartoon dogs, farm animals, and dissolving forms. He is considered a pioneering figure in the Funk and Nut Art movements, along with other prominent artists like Peter Saul, Gladys Nilsson, and Jim Nutt. His work, Country Dog Gentlmen (1972), is a hallmark example of his self-described practice as an "obscure visual constructor of mechanical delights." Born on February 11, 1930 in North Platte, Nebraska to a farming family, his father was forced to move to them to Yakima, WA during the Great Depression. De Forest went on to study at the California School of Fine Arts, earning a BA in 1953. Later, while working as a sign painter for the US military, he earned his MFA from San Francisco State College. Today, the artist's work can be found among the collections of the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Art Institute of Chicago, and the Museum of Fine Arts in Boston.
Oil on linen over panel
12 x 12 x 1 in.
Using pared-down forms, simple geometric shapes, and gridded structures, Dennis crafts abstractions that give visual form to memories of place and season. The colors and shapes of Summer recall warmth, grass, and a place just beyond a fence or clothesline.
Letterpress print
15 x 12 in.
Cheryl Derricotte is a San Francisco-based visual artist whose interdisciplinary practice bridges glass, paper, textiles, and installation to explore memory, migration, environmental justice, and social equity. Trained as both an artist and a licensed city planner, she integrates archival research and community storytelling into works that examine the layered histories embedded in place.
Her work is held in the permanent collections of the de Young Museum, the Oakland Museum of California, the Museum of Glass, and the San Francisco Public Library. Among her notable public commissions is Freedom's Threshold, a monumental glass tribute to Harriet Tubman installed Gateway at Millbrae Station in California.
Derricotte is the recipient of the George A. and Eliza Gardner Howard Foundation Fellowship in Objects and Installation Art and has completed residencies at the Corning Museum of Glass, the Museum of Glass, and Kala Art Institute.
Courtesy of the Artist
This work was part of the 2024 Central Print 2nd Annual Outstanding Author's Exchange, featuring the words of Tina Turner. The full collection of prints, including this one, is in two permanent collections: The Saint Louis (MO) Mercantile Library and The Newberry Library, Chicago, IL.
Woodcut monoprint
42 x 42 in. (Framed)
Dikon's abstract works emerge from ecological research, foraging practices, and land-based labor. Working across woodcut printmaking, painting, and installation, she treats repetition and mark-making as ritual acts-translating gestures of cultivation into layered visual fields that meditate on renewal, erosion, and interdependence.
Rooted in both observation and invention, her abstractions borrow from natural systems without illustrating them, instead distilling rhythms of growth, weather, and seasonal work into pattern, color, and pace. Each piece operates as both document and offering-a record of embodied process and an invitation toward slower ways of knowing.
12 x 12 x 1.5 in.
Vintage Ephemera and books are always finding their way into my paintings. Often they are in the form of stacked books; or still-life's with books, personal objects, and family photographs on a gingham backdrop.
Thank you for caring to deeply about Kala Art Institute's mission.
Woodblock monoprint, pochoir, mica, mounted on wood panel
20 x 20 x 1.5 in.
Exploring layers of shapes and colors, Eclipsed is from a series of unique woodblock monoprints with hand-drawing on Japanese paper; collaging my current seen and unseen world. Using a language of form and line, working from a an intuitive, improvisational process, these works express the nuanced and inconstant weather of my recent existence. Within my practice, I focus on the shifting layers of experience, balancing between the deeply personal and the political. My art reflects my sense of the impermanence in our present reality, while seeking to locate myself within the chaos of the contemporary world.
Gouache
8 x 6 in. (Unframed)
20 x 16 in. (Framed)
This is from a series I did while in a residency at the Eugene O'Neill Foundation.
Donna Fenstermaker is a visual artist living and working in the San Francisco Bay Area. Fenstermaker paints in watercolor and oil. Her work has been exhibited and collected nationally and internationally. The paintings are inspired by the world surrounding the artist, sometimes the imagery is more abstracted than other times. Donna Fenstermaker received a BA from San Jose State University in Art with a concentration in ceramics and her MFA from California College of Arts and Crafts (now CCA) in printmaking.
Acrylic, crushed walnut shells, sticks on plywood
24 x 19.25 x 1.75 in.
Gritty Geometry III is an experiment with twigs found on my driveway paired with plywood scraps. This painting further explores the relationship between architecture and nature mediated through color play.
Intaglio
12 x 12 in.
Fuyuu 9-12, 2013 sits at a formative point in my practice, where memory, material, and repetition begin to converge into a visual language I still explore today. Created during a period of sustained experimentation, this piece reflects my early engagement with abstraction as a means of holding time, of allowing the past and present to coexist.The composition is structured through repeated marks and stitched lines that reference both natural phenomena and the rhythms of handcraft. These gestures echo patterns found in traditional Japanese practices such as sashiko, though here they appear intuitively rather than illustratively. At the time, I was not consciously referencing Mingei or Edo-period craft, yet "Fuyuu 9-12" reveals how deeply those visual memories had already embedded themselves in my thinking.Fuyuu, or "floating in the air", captures my work's central tension: a sense of suspension between grounded labor and quiet impermanence. The piece is a study of how small, ordinary impressions linger, repeat, and subtly transform over time. Looking back, "Fuyuu 9-12" anticipates my later focus on elevating the ordinary, on repetition as meaning, and on the emotional continuity between lived experience and material process.
Hand-cut adhesive backed vinyl on panel
49 x 36 x 2 in.
t.w.five, the international art duo formed by Swedish and Brazilian artists based in San Francisco. t.w.five's hand-cut vinyl installations explore ideas of diversity, societal norms, alienation and the place of technological innovation; subjects that are meant to connect with a broad audience. Up Close (Some kind of Blue), was part of t.w.five solo show at Marrow Gallery in 2018 where the duo integrated the work made in the studio with the gallery space; a way for the artists to navigate the space while at the same time commenting on the ephemeral nature of a site specific work. Creating illusion with scale and color and reducing their imagery to simple forms that fill empty spaces, while at the same time, complementing the actual forms that exist in the environment.
Courtesy of the artists
Acrylic and acrylic spray paint
16 x 12 in.
My painting practice is guided by a delicate balance of choice and process. I begin each piece with an inner dialogue made up of gestures, marks, color relationships, and compositional tendencies I return to. From there, the work evolves through layering, editing, covering, and revision. Each painting becomes a space for negotiation between clarity and disruption, structure and spontaneity.
Mixed media
16 x 20 in.
The work combines my interest in paper making and in printmaking. It combines layers of cut mulberry paper adhered together with some cut pieces of old prints.
Monoprint mounted on wood panel with wood sculpture
19 x 12 x 3 in.
I began working in sculpture again recently, and the geometric patterns I've been working with wanted to grow organically, bending and multiplying to try new ways of connecting, inevitably forming star shapes. These monoprints combine with the wood shape to carry that idea outward.
Oil paint, papier mache, cardboard on panel
14 x 9 x 1 in.
My paintings are built on obsessively layering, reworking and redefining the composition. I work totally improvisationally with no idea what the end result will be. I work on my paintings from all orientations and frequently make drastic changes in the imagery. As I paint, I am always building on what has come before, even if it has been covered up, hidden, lost. In this way, the painting has its own internal logic, created through the process of painting.
Ink, watercolor, gouache
10 x 15 in.
I paint stories, composed of multiple paintings. As the story develops some images get edited out to be used in future works. This piece was one that was edited but still tells its own story.
Screen print on acrylic and paper
13 x 20 in.
This unique work, from a series called Rainy Season, explores landscape through layering and framing. A print on the inside of the acrylic glass floats above a print on paper, aligning and misaligning as the viewer moves. Many native grasslands in the Bay Area have disappeared as introduced grasses (which arrived during European colonization) now cover much of the land. The grass in this print is green with seasonal rains, but highly flammable during fire season and drought.
Acrylic, watercolor, cold wax on raw linen
8 x 8 x 1.5 in. (diptych)
In Conversation, is part of a body of work started in 2024 where I navigate the balance between structure and release. Inspired by the breathwork of meditation practices, this work employs layered saturation and rhythmic pattern to invite contemplation. This diptych can be oriented in different ways in order to move or capture energy.
Water based woodcut collaged on museum board
32 x 25.25 in.
This work is part of my ongoing interest in combining water-based woodcut and collage. Since 2022, I have explored how these two processes can exist together, balancing Bokashi printmaking with the intuitive layering of collage to create subtle overlapping areas.
The repeated, wave-like organic forms create a sense of rhythm and continuity across the surface. By shifting the colors within a consistent shape, I emphasize connectedness through variation. The fluid transitions of color suggest movement and flow, while the layering introduces subtle depth and texture.
Overall, this piece reflects my broader practice, which focuses on repetition, organic form, and the spatial relationships created through color.
Mixed media on panel
12 x 24 in.
My work often moves between the pictorial and the abstract-the idea of space threads through it all. A space to dive in. A space to expand.
Etching
10.25 x 8 in. (paper)
3.5 x 2.75 (image)
Acrylic on wood
16 x 16 x 1.5 in.
This paintings reflects my ongoing practice of using landscape to explore color, pattern, and abstraction.
Charred acacia branch, other hardwood, metal, threads, motor
46 x 8 x 7 in.
This is an experimental and conversational exploration with the materials that have been around my life to clarify my artistic language. In my larger projects, the language I find in this type of practice develops, deepens, and expands to be connected with people.
Archival pigment print
20 x 16 x 1 in.
Work created during my residency at the Recology San Francisco Artist-in-Residence Program, where I now serve as an Advisory Board member. The work extends my ongoing investigation into identity, displacement, and representation. Rooted in my interdisciplinary practice, the project engages discarded objects from San Francisco's Public Disposal & Recycling Center as both medium and metaphor.
Courtesy of the artist and Rebecca Camacho Presents
Ink on paper
16.5 x 12.5 x 0.25 in.
My name is Tatiana Henke. I am an artist and Ilive in Berkeley. I have been living in Berkeleysince I was 18 months old. I love creating art.Making art brings me joy because I get to draw beautiful pictures and share them with the world. Art is also therapy for me. When I draw I feel happy and proud.
Because I love making art so much a friendintroduced me to NIAD art program. I now go 3days a week and I have the amazing opportunityto share my art style with the staff andexhibitions workers at NIAD. I love NIAD because I get to do art, (which I love), I get to share my art, and I have a wonderful productive day.
I believe that I was born with a gift. The gift of being an artist. And I will continue creating beautiful art and explore new styles. I hope you like my art.
Intaglio, screenprinted charcoal powder, gampi and kozo papers
7 x 17 in. (triptych)
nif responds to materials, research and the senses, to develop landscapes where place and perception meet. The "atmospheric articulation" series explores ideas of Atmospheric Aesthetics and the space between a body and an environ, where we experience a felt sense of our surroundings. Peripheral visual systems take in borderless views and larger complexities; finer senses observe detail and changes in time; perceptions of near and far, sound and smell, light and shadow, move, intermingle and blur. These fluid, spatial experiences shift again between the present, memory, photo and recall, and highlight the complexities in the simple act of looking and how we know a place.
30 x 22 in.
Copper plate photogravure
14 x 16 x 1 in.
Thacher Hurd was born in Vermont, but has lived in California for most of his life. He graduated from the California College of Arts and Crafts with a degree in painting. He has written and illustrated more than 25 books for children, among them Mystery on the Docks and Mama Don't Allow, both of which were Reading Rainbow Feature Selections. Mama Don't Allow also won the Boston Globe Horn Book Award. He also wrote and illustrated Art Dog, Moo Cow Kaboom, Sleepy Cadillac, and most recently Bad Frogs. He collaborated with Elisa Kleven on The Weaver, which was published in 2010.
He has also written and illustrated two board books, one of which, Zoom City, was a New York Times Best Illustrated Book of the Year. In 1983 Thacher and his wife Olivia founded Peaceable Kingdom Press, a publisher of cards and posters from children's books. He lives in Berkeley, California and spends his summers in Vermont.
Screenprint
4.5 x 2 in.
My work explores disaster, memory and vulnerability through different mediums, ranging from printmaking to performance, to edible art and printed objects. I question the way we look at tragedy as well as the way we deal with its aftermath. We depend on our technology (planes, trains, automobiles) and easily forget that it is just as fallible as our bodies. At the end of the day, all physical contact is a collision with permanent repercussions, whether visible or not. Most interactions we have with other people are just like these collisions: we are selfishly oblivious to our impact on others.
Acrylic paint and fabric on wood panel
11 x 14 x 2 in.
Sea Ranch investigates the effects of light on the landscape, shaped by weather and shifting atmospheric conditions. Rooted in sustained observation and a careful awareness of place, the work reflects a cumulative sense of environment formed by growing up in San Diego, living in the Bay Area, and moving between the distinct yet connected landscapes of each.
Using a process-driven approach, I pour and apply pigment directly onto fabric, sometimes removing color with caustic bleach and adding acrylic and ink. Cotton, canvas, nylon, and silver fabric are cut into strips and reassembled into striated compositions that echo the kinetic energy of natural systems. Painted sections-both congruent and contrasting-are joined as discontinuous bands that suspend and intertwine multiple moments. These layered constructions allow multiple perspectives to coexist, holding what is seen and unseen, above and below, ahead and behind.
Courtesy of Walter Maciel Gallery, Los Angeles, CA
Screenprint, enamel, wood
5 x 2.25 x 1.5 in
The images in these pieces were created by trespass light, unwanted or intrusive light that crosses property boundaries, contributing to light pollution. It's fascinating how something so subtly disruptive can also create moments of beauty. My practice looks to built and natural spaces for metaphors exploring how environments affect our bodies and minds.
Photograph with paint
11 x 17 in. (image)
24 x 19 x 0.75 in. (framed)
Artists Lissa Jones and Curt Fukuda collaborated from the mid-1980's until 2000. Their largest body of work explored the Dia de los Muertos celebration.
Narratives have always been an important part of our work,, whether the storyline is explicit or implied.
The Muertos series grew out of a love for the Mexican culture, which connected us with the joys, mysteries, and spiritual lives of the people who live in Oaxaca. Of the Oaxacan rituals, we found el Dia de los Muertos the most compelling. Just as we were fascinated with the influence of the celebration on the Oaxacans, it was important to understand its effect on us. As Asian Americans, who grew up with our own set of rituals, we found a commonalty in the Oaxacan view of life and death. So our art provided a dialog, often telling a story, exploring questions regarding living with mortality.
Though we use the medium of photography, our images, even the ones of Dia de los Muertos, are not meant to be documentary photographs. The images are the foundation of our art, the exploration of rituals related to life, spirit, and death-woven into the texture of a narrative.
Photo etching, chine colle
11.5 x 7.5 in. (print)
18 x 14 x 1.25 in. (framed)
I made Reincarnation in 2017 to celebrate the rebirth of my best friend, Ian Allen. "17" was Ian's favorite number. He was the most magical person I have ever known. I know his soul has already begun a new life, spreading love and joy everywhere he goes.
Multi-layered archival pigment print on shaped aluminum panel
20 x 17 x 0.75 in.
The artwork originates from an ink painting created at Mills College in Oakland, California. Its title and geometric form are derived from a Suprematist composition by Kazimir Malevich presented in the historic The Last Futurist Exhibition of Paintings 0,10 in Petrograd in 1915.
Type-C print
7.5 x 9.5 in. (print)
9 x 11 x 1.5 in. (framed)
New Memories is a visual tribute to the ethereal beauty of Aomori and its seasonal rituals intertwined with nature-from cherry blossom picnics and summer bathing to apple harvesting and snow-laden landscapes. These rituals embody a quiet resilience, a spirit of living with hope in subtle nuances.
Each return to Aomori deepens my memories, blending the present reality with echoes of the past, which are also refreshed by revisiting old family photographs taken by my father. The catastrophic events of March 2011 further shifted my perspective. What began as an exploration of the past has evolved into a vision for the future-a hope for Aomori's cultural richness to endure and be vibrant in a nuclear-free world.
Screen print, watercolor, hand drawing on paper
11 x 30 in. (unframed)
14.5 x 34 x 1 in. (framed)
In my hand-made botanical prints, I present medicinal plants in various compositions. The visual elements and stars in the Sky Garden series are from a 12th-century Andalusian botanical manuscript and Sidereus Nuncius, Galileo's 17th-century treatise. Inspired by these manuscripts' original images, I digitally drew Galileo's stars and botanical silhouettes. I then prepared stencils of them for the silkscreen printing process. The works have a few layers of printing combined with washes of ink or watercolor and hand-drawing elements to impart the idea of tangled plants in a garden.
Acrylic on panel
This painting is a pattern I repeatedly revisit. It is a deceptively uncomplicated familiar textile pattern, and not unlike a memory, it changes each time I make it. The title, Tunnel Visions stems from the process of making these paintings. With each line, I lose time, and the painting becomes a container for the immaterial human experience of grief and loss.
My work is a material exploration of intangible visual phenomena. Employing color relationships and the illusion of control, I construct disrupted optical field compositions in painting, drawing, textiles, and printmaking. As much about the seen as the unseen, I seek to make real what always was just outside our learned field of vision.
Monotype on Rives BFK
20 x 30 in. (unframed)
24 x 36 x 1 in. (framed)
The shadow defies the logic of the market; it has only fleeting experiential value that defies commodification. In each print of Acknowledge the Shadows, layers are created with stencils of shadows I witnessed in the Bay Area, new to the city and wondering what compromises I had made to get there. The diagonal lines originally designed for the structural integrity became an integral part of the piece. Each of the layers of my monotypes are ghost prints, the differences in value created by pressure and ink left behind - echoes of both the original shadow and the previous print pulled. It has become a nightly ritual to document the shadows; noticing them is a portal out of what Byung-chul Han calls the digital panopticon, the achievement based control of big data and social networks. In physics light is both a particle and a wave, just as the shadow is both presence and absence, revealing postmodern contradictions. To acknowledge the shadows is to shift our attention, to see there is no I in the vacuum of space, and to hear Jose Ortega when he says "I am I and my circumstance; and, if I do not save it, I do not save myself."
Printed 2020
Chine-colle photogravure
20 x 16 in. (print)
23 x 19 x 1.5 (framed)
Since early childhood I have had an affinity for grasses and I took countless photographs of these often bypassed plant species. The print "Grasses - near Lyon, France", comes from a portfolio of photogravure prints. Photographed with a 40 year old Rolleiflex camera in 2004. The copperplate was made by Unai San Martin and printed by Max Valentine at KALA. It is #5 of an edition of 10.
Courtesy of Max Kellenberger
Ink on panel
30 x 30 x 2 in.
Characteristic of my black and white drawings, this piece features radial symmetry, repetitive mark making, and fine lines, describing a journey from the center and the duration of time that would take. Drawn freehand and without guides or rulers, my pieces embrace tiny vibrations in the lines, and each mark represents a gesture of my hand. Each line depicts a patient process and incremental growth. My work is meditative and slow and seeks to show the evidence of time passing.
Courtesy of the artist & Dolby Chadwick Gallery
Collage, letterpress pressure print, cyanotype, patterned paper
5.5 x 4.25 in. (paper)
10.75 x 8.75 x 1.25 in. (frame)
Make/Room is a series of mixed media architectural collages that explores invented interior spaces built from simple elements. Using patterned papers that flatten the physical space, as well as original materials such as letterpress prints and cyanotypes, I build each frame as a small glimpse of a distorted room that, despite its inaccuracy, feels familiar. Rooms that are empty enough to populate with your own memories, and with the possibility of potential futures.
AP
Archival inkjet print on rag paper
23 x 28.75 in. (image)
24 x 31 in. (paper)
From the series, Star Maps For Beginners
Glass powder on hand-cut sheet glass
5.25 x 5.25 x 1.25 in.
Through a lineage that includes stop-motion animation and printmaking Klein's work often explores the tension between movement and stillness, capturing time as both a fleeting sensation and also a preserved moment. The imagery on this piece comes from animation stills. Klein approaches glassware much like screen printing, using stenciled silkscreens to produce designs and then sifting powdered glass through the screen. The work is kiln-fired and built-up gradually with additional layers of powered glass.
Acrylic and archival acrylic pens on wood panels of various shapes
15 x 10.5 x 0.75 in.
Painting Time: Moments (2021-2026) links small square, triangular, and circular panels into branching, sculptural arrangements of bold, geometric abstraction, proposing a nonlinear vision of time as lived experience.
Fabric, foam, recycled t-shirts, yarn
40 x 24 x 3 in.
My work often takes the form of installations, creating spaces made of yarn that are raucously colorful and reminiscent of blanket forts. I'm inspired by childhood, both my own and the world of the kids I work with as an arts educator. Kids are not often the target audience of conceptual art, and that is something I'm aiming to change. Joy and play are profound concepts, so I decided to create a series of soft sculpture fruits specifically for kids to play with at a solo show I had in October 2025. They were a huge hit, as kids stacked them and swung them around in a choreography that came completely naturally to them. My hope is that through prioritizing the experience of children in arts spaces, all people will find their own centers of joy and play, and will feel more connected to creative expression overall. This is a meaningful endeavor to me, as creativity is so inextricably tied to mental health and, according to numerous studies, is the opposite of anxiety. In a world as divided and stressful as ours, we desperately need to find creativity so that we may organize and thrive as whole people.
Fabric, felt, polyfil, wire, yarn
24 x 18 x 4 in.
Screenprint, 16 color run
19 x 23.5 in. (paper)
26 x 30 x 1 in. (frame)
My Cadence of Nature screenprint series is an extension of my studio paintings, continuing the visual language in a new medium. For me, the garden is a metaphor for the universe, and this idea anchors the work. Nature-based shapes are lifted from my paintings and reshuffled through the screen-printing process, creating abstracted, surreal landscapes. Through these layered compositions, the idea is to evoke the beauty of land-its textures, rhythms, sounds, and saturated color.
Oil and flashe on canvas
14 x 18 x 1.5 in.
This work was created in 2024 as a part of my solo exhibition "Prologue: Freer Than The Wind". The works explored themes of cultural memory and resilience, drawing from my personal history and a broader inquiry into belonging and survival, I invite you into a dream-like world.
Laser cut relief
20 x 28 in.
Jimin Lee is a Korean-born California-based artist.
For many years, she has focused on themes of mobility, displacement and labor on the personal and social level as seen in traffic, places of transport, or objects that move or are "in transit" -- travel in both the daily and in the migratory sense.ââ'¬'
Her research and practice center on the area of photo-based prints. In recent years she investigated and developed a new option and possibility in print media by adopting emerging print strategies in an expanded art context. For example, by integrating the traditional woodcut with laser-cutting and inkjet printing processes, she birthed a new creative formula of her own that blends conventional mediums of print and contemporary digital technology so that they interplay with and reshape each other. But while using digital tools and applications has been a critical part of her image-making, she has continued to use the great hands-on, tactile techniques that belong to the long and storied history of printmaking.
Pen on paper
7 x 9 in.
I turned to drawing trees as a way to return to ground after seven years of performance work about race, rooted in journalism and community. I needed time with only a pencil, a sheet of paper, and quiet. Yet even in that stillness, complexity took root. These drawings became meditations on structure, dimensionality, wildness, life, loss, and regeneration. I've long said that the hardest things to draw are trees and rubble-and somehow, I've ended up devoted to both.
Hydrocal, fiberglass, pigment, epoxy clay, acrylic, leather, polymer varnish
13 x 9.5 x 5 in.
Kristina Lewis received her BA from the University of Colorado and her MFA from California College of the Arts. She currently lives and works in the San Francisco Bay Area and has exhibited her work locally at Bass & Reiner, Johansson Projects, SOEX, Sonoma State University Art Gallery, San Francisco Arts Commission Gallery, Oakland Museum of California's Sculpture Court at City Center and Park Life. Her work has also been exhibited at Next Art Fair in Chicago and Aqua Art Fair in Miami-as well as being included in solo and group shows in Portland, Seattle and Los Angeles.
Silk Screen
11 x 14 in.
Another Day in Fucking Paradise is part of my series Sound Drawings.
ed. 6/20
Seven color lithography with gold leaf
44.25 x 30.5 in. (print)
Frame courtesy of Mark Ryan Fine Art Services
Chinese-born American artist Hung Liu (Born in Changchun, China, 1948 - 2021) portrayed individuals who risked being forgotten in death as in life. As a child, Liu lived under the regime of Mao Zedong, who led the Communist Party during the Cultural Revolution (1966 - 1976), a turbulent period of political and social upheaval in the People's Republic of China. It was during this time that Liu realized photography's significance when she witnessed her mother burn cherished family photographs, or otherwise risk persecution for being "bourgeois," or not working class.
As an adult, Liu immigrated to the United States, where she focused on the photographs of the Chinese people who came before her. Whether painting or printing, by manipulating and recontextualizing found images by dripping, splattering, and layering materials, Liu blurred the lines between representation and abstraction and probed photography's role in shaping collective memory.
In 2011, Hung Liu worked from her grandfather's photographs of Chinese monks, to create a dynamic series of prints at Tamarind entitled Butterfly Dreams.
Aquatint etching with acrylic on panel
12.5 x 9.5 in.
A resident of Fairfax, California, Julia Lucey got her BFA in printmaking from the San Francisco Art Institute and a MA in Education at Loyola Marymount University. As an Artist-in-Residence at Kala Art Institute, Julia has focused on traditional etching techniques and aquatint to create images dealing with the evolving issues of wildlife, its dissolution, and the attempt by many to direct its path. In the most current body of work, her traditional etchings are cut out of the paper and reassembled into new landscapes on panel.
Acrylic on canvas
I use color relations and inexact geometry to paint abstract bodies in groupings that allude to dance floor liberation, democratic society, and the interconnection of all living things. My work is indebted to meditation practice, the shimmering radiance of nature, and the innumerable pleasures of a body in motion. These all inspire my work's focus on perception in an embodied experience of the world, ever in the flux of becoming, and of finding oneself always in the midst of that movement and transformation. I invite viewers to observe themselves seeing, feeling and thinking as the perceptual dynamics of the compositions slowly unfold.
Acrylic and cyanotype on fabric on wood panel
6 in. diameter
My work explores the intersection of science & spirituality--the space through & beyond the threshold of the lens. Exponentially repetitive and cyclical, my process for these works includes building up a system of dots and marks on acetate stencils-intersecting ellipses that represent strands of particles-and exposing them to light sensitive cyanotype fabric. Influenced by nature's sacred geometry & the radial symmetry of Cymatics, these mandalas reference micro & macro, the cellular & the cosmic.
Enameled metal, plaster, stones from Chimayo Sanctuary
7.75 x 10.75 x 1 in.
Tom Marioni (born 1937, Cincinnati, Ohio, United States) is an American artist and educator, known for his conceptual artwork. Marioni was active in the emergence of Conceptual Art movement in the 1960s and founded the Museum of Conceptual Art in 1970.
Notable works include, One Second Sculpture, 1969 and The Act of Drinking Beer with Friends is the Highest Form of Art, 1970. His work is included in many museum collections, including SFMOMA, FAMSF, among others.
Courtesy of Maria di Suvero
Limited edition bound book, digital prints of cyanotypes
7 x 5 x 0.25 in. (90 pages)
Photos I Didn't Take, was the result of an experimental documentation process--daily observations of changes in my community. The book's conclusion provides this contextual explanation: "Because of my reckless photography habit, I was on a year-long snapshot diet---recording choice moments with words instead of pictures. For this book, I translated these narrative images via the alchemy of cyanotype, one of the earliest photographic processes."
Oakland-based public-service artist Sue Mark, working as marksearch, designs interactive spaces for story-sharing to re-knit community bonds. For three decades she has amplified voices excluded from archives through walking discussions, workshops, celebrations and published community scholarship, ensuring local culture is preserved and anchored in public memory. Partnering with knowledge bearers, public historians, and neighbors, she invites communities to revive intergenerational wisdom and nurture bonds between people and place. Through sculptural frameworks for collaboration in public spaces, she creates projects beyond museums and galleries.
marksearch.org
Photopolymer intaglio, letterpress polymer, pressure printing on Hahnemuhle
17 x 13 x 1 in.
My prints, artist's books and installations look at how information is delivered and perceived, and the intersection of experience and memory. I explore the changing technologies of communication through a lens of personal experience and anxiety. In the Here/Hear series, cell towers disguised as trees represent our need for constant connection, our desire for infrastructure to be invisible, and our complicity in the data extraction industry. The cell tower trees are silent witnesses to our movements and interactions, enabling the transformation of our attention into commerce. Screenshots of maps, and texts show daily habits of sharing locations and plans.
Acrylic paint on wood panel, screen-printed anaglyph 3D glasses optional for viewing
8 x 8 x 0.75 in.
My practice is driven by the ever-expanding potential of drawing and by the elasticity of perception. Committed to low-tech modes of seeing and making, I aim to produce singular viewing experiences 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 constantly drawing. 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 large scale red-and-cyan drawing installations and smaller discrete works on panel. To the bare eye, the works generate a potent vibration as the high-chroma hues clash and collide in a variety of patterns and configurations. When seen through 3D glasses, the image now 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.
Framed C-print
18 x 25 in.
Lee Materazzi is a contemporary artist from Miami, FL now living in San Francisco, CA. Materazzi uses her body as a medium alongside color and texture, at times responding to remnants of material or work left by her children in the studio. Her compositions are off-kilter and investigate autonomy- rejecting acceptable social norms that regulate the human body. Materazzi's works are considered sculpturally, but exist only temporarily. She documents what she creates with medium format photography to preserve it. Her work has been shown internationally and is a part of numerous public art collections including The Margulies Collection at the Warehouse, The Sagamore Collection, the Jordan Schnitzer Museum at the University of Oregon and The Perez Art Museum where she was included in, My Body My Rules.
Courtesy of Eleanor Harwood Gallery
14 x 10 in.
My practice is focused on depicting faint experiences or moments in my own life. I often grab inspiration from personal memories that have started to fade in my mind and in an effort to preserve that moment, I paint it. I take inspiration from intriguing compositions in film and photography.
Water color and colored pencil on repurposed book and found papers
11 x 17 x 2 in.
This watercolor and colored pencil work on repurposed book and found papers exemplifies my ongoing exploration of material history, domestic symbolism, and subtle observation. Throughout my practice, I use salvaged and discarded substrates as both surface and subject-allowing the wear, stains, tape, and structural remnants of the book to remain visible. These traces are not incidental; they function as collaborators, carrying evidence of prior use and time. By layering a carefully rendered, humble object-here, a single onion-onto this already marked ground, I create a dialogue between permanence and impermanence, fragility and endurance.
The integration of watercolor and colored pencil allows for a balance between translucency and precision, reinforcing the tension between delicacy and structure that recurs throughout my body of work. The exposed binding materials and visible repairs underscore themes of mending, preservation, and adaptation-ideas that resonate with my broader commitment to reuse and transformation.
Ultimately, this piece fits within my larger practice as a meditation on material memory and quiet resilience, where ordinary objects and reclaimed surfaces become sites of contemplation and subtle reverence.
Photopolymer intaglio, monotype, paper litho, pochoir
22 x15 in.
Idaho is from a series whose ultimate goal is a print for each of the 50 American states. A road trip to Idaho last year revealed incredible variety in the landscape - sand dunes nearly 500 feet tall only a couple hours away from vast fields of lava, cinder cones and volcanoes at Craters of the Moon National Monument. Idaho is rich with fossils and I especially enjoyed learning about the evolution of the horse from creatures only 18 inches tall that pre-date human inhabitants by millions of years. 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.
Ceramic
5 x 14.5 x 5 in.
Erin McGuiness's sculptural work captivates with its quiet strength and lyrical beauty. Her creations are totemic yet sensual, meditative yet invigorating. Through her hands, McGuiness draws viewers out of passive observation into active participation, as her work becomes an invitation to heal - a journey into wholeness through our bodies and our relationship to the natural world.
Her archetypal ceramic forms and installations navigate the liminal space between light and shadow, masculinity and femininity, the raw and the refined, the individual and the collective. Each piece, carved or coiled with intuitive precision, embodies these dualities, evoking a dialogue that extends beyond aesthetics and into the realm of the deeply philosophical.
30 x 26 x 1.5 in.
My work examines the shifting relationship between the natural world and the built environment through the creation of invented spatial narratives. Working across painting, drawing, and site-specific murals, I utilize tropes from art history, science fiction, and the everyday to construct "non-places" that feel simultaneously nostalgic and futuristic.
Courtesy of the Artist and Maybaum Gallery
Copper etching
15.25 x 12.25 in.
This was my first use of the hard ground crackle technique that I have been working with for the past few years.
Dye Sublimation Print on Aluminum
28 x 40 x 1 in.
Photography is a magical art. It has the power to ask questions about the origin of the universe or to merely ask the question: "What the hell is happening over there?" In my 50 years of taking photographs I have looked for the humorous or the humane as answers to those profound or simple questions.
Courtesy of the artist and George Krevsky Gallery
Archival pigment digital print
41 x 31 in.
Oil and acrylic on hydrocal
10.5 x 18 x 2 in.
I have a background in book design and typography, which has led me to ongoing sculptural work with words, letters, narrative, and the structures and shapes of written language. "YSL Stripes with Persimmons" considers the similarity of books to the human body, in its size, symmetry, and curves. Fashion and fruit stand in for words and paragraphs in this book-shaped sculpture.
Acrylic, pencil on canvas, sewn
14 x 11 x 1 in.
My art focuses on shapes and colors and I work mostly from intuition. I sometimes make work that is related in terms of shapes or feel and sometimes I make work that are one offs. This piece falls somewhere in between - it is unique from other work but at the same time vaguely familiar to a few other pieces I have made.
Courtesy of Jack Fischer Gallery
Etching, drypoint, carborundum
18 x 24 x 1.5 in.
This print" One Palm" is part of an ongoing series of unique prints " Plants of the future".Focusing on a what binds us together and hope for the future.
Graphite on book boards, book cover
16 x 16.5 in.
Watercolor has long been the medium of choice for Nicole Phungrasamee Fein. With a meticulous hand and singular focus, Fein builds fields of luminous veils of color and pattern centered within the square. Droplets intermingle on paper, creating dense composites of color.
Courtesy of the artist and Nancy Hoffman Gallery
Oil and encaustic on canvas
16 x 16 in.
Oil on canvas with maple frame
17.5 x 15.5 in.
Steuart Pittman's playful, diaristic paintings are rooted in a modernist abstract vocabulary with a decidedly contemporary twist. Rooted in a visual vocabulary of bold geometric forms, Pittman's paintings are inspired by events and moments from his life both inside and out of the studio which lends the pieces an intimate, almost narrative quality. The deliberately asymmetric shapes and meticulously crafted frames are a nod to the artist's unique studio practice.
Courtesy the Artist and Traywick Contemporary
Sumi ink on arches
18 x 24 in.
I like to think that objects can take some of the pain away - carry the emotional burden of aliveness.
My conceptual art practice investigates the permanently transient state of the refugee body and its negotiation and reconciliation with Place. In my latest autobiographical photography project series titled Breathing House, I turn the lens towards my family capturing moments in their newly acquired home. At the project's core lies a profound question: When does the tireless quest for belonging reach its conclusion, and where does the true essence of home commence?
Acrylic paint on wood panel
12 x 12 x 2 in.
Mel Prest derives inspiration from colors, sounds, and scents in the outdoors. She brings these experiences into the studio and reimagines them through layers of hand-painted lines. Her arrangements record colors that stand out to her in everyday life: The striking contrast of autumnal foliage surrounded by green is distilled into an all-red painting; the smell of blooming lilacs becomes a lattice of purple; the light of the setting sun from behind a cloud resolves into a glowing green composition. Color palette and theory are a driving factor in her process, being integral to the creation of a sensory effect or the evocation of memory.
Courtesy of the artist and K.Imperial Fine Art, San Francisco
Cotton doily, epoxy resin, generic Zetia, pyrite, house fly
6.5 x 6.25 x 1 in.
Ordinary things tell the story of us. They have an uncanny ability to amplify collective thoughts and desires. My work explores the relationship between self, subjective experience, and embodied perception in daily life. Discarded belongings can function as gateways to consciousness. By combining seemingly disparate objects, I envision how the material world shapes our perception of ourselves and our place in it. Ultimately, I aim to deepen my understanding of the power that everyday things hold to bear witness to the flow of lived experience.
Nicelle Beauchene Gallery
Fabric, thread, wire, glue and mixed media
16 x 11 x 13 in.
Robb Putnam shapes his work from blankets, clothing, thread, and other humble fibers-materials softened and fragmented by human touch over time. Throughout his work, these remnants become vessels for exploring the fragile terrain between exposure and shelter, tenderness and unease. His forms, whether figurative or abstract, seem to hover in the space between memory and invention, carrying the residue of touch and the suggestion of wounds that never fully close.
Putnam's animal-based sculptures are both lovable and unsettling-stray creatures or imaginary friends who feel caught between worlds. Their seams strain, their skins appear torn or hastily repaired, revealing interiors that seem too soft to withstand the external forces of lived experience. These beings invite us near even as they retreat, embodying the emotional contradictions of creatures who crave connection but bear the marks of the tearing and mending they have undergone. They are tender misfits, bearing the stories their bodies cannot help but tell.
Courtesy of Gail Severn Gallery
Fabric, thread, wire, mixed media
9 x 10 x 5 in.
Courtesy of Walter Maciel Gallery
Ink and carandace on paper
12 x 9 in.
When the evil are judged.
Gelli print, acrylic on paper
8 x 10 in.
This monoprint was created using a gelli plate and multiple passes with stencils and free painting directly on the plate. Slowly order came from chaos and a picture formed. One of dozens of prints created this way has pointed to a fresh look at the integration of abstract shapes and ground creating a specific image from diffuse elements.
Bronze
13 x 10 x 3 in.
I make sculpture.
8 x 8 in.
Rabbits in my garden, garden on my mind, Durer's rabbit in my mind. Enamored with color, line, shape, texture and small space.
Screen print
35 x 23 in.
A Southern Baja coastal scene in which a pod of dolphins breaks the surface of churning water beneath a glowing early morning sky, while a Chevron Venezuelan oil tanker docks at Point Molate in Richmond. The composition is divided into distinct horizontal registers. As in much of my work a juxtaposition of images- the glorious vitality of marine life and the ominous symbol of human extraction and ecological catastrophe.
Monotype
5 x 7
I am both a watercolor artist and a printmaker. This piece resulted from a challenge I set for myself to convey a similar feel to a landscape done as a monotype as I would if I were painting a watercolor.
Linocut engraving
30 x 24
I am an observer of nature and in Normandy we are blessed with open space alongside of towns and cities. I add my own sense of fantasy and humor in many of my engravings. In Verres de Terre the rabbit is observing the flourishing of the garden and the moon is also enjoying his share of the harvest.
Collage on wood panel
12 x 12 x 1.625
For this collage piece I used stencils that I had created for previous monotypes and other collected materials to form a whole new object that is entirely unfamiliar. Ordinarily I create one-of-a-kind monotypes by making stencils that I trim from heavy-weight and textured papers, as well as other ephemera I source, to get a variety of visual and tactile surfaces. The stencils have such beautiful colors and textures on their own that I have given them a second life in these collages I have created mounted on wooden panels.
Wool, cotton, copper
20 x 22 x 5 in.
This piece is part of a color inspiration project I'm working on. The style is one I have made for several years, but the color palette is new.
Photopolymer intaglio
15 x 10 in.
I am currently working on an artist's book that builds on the foundation of my recent project titled "The Hiking Club; A Vocabulary of Yearning". The "Hiking Club" stems from a displacement narrative and subsequent feelings of longing that an arise from the immigrant experience.
The book speaks of the ties between landscape, memory, and history and ties together three generations. It consists of letters written between two great uncles, one beseeching the other to immigrate to the US in the face of Hitler's rising fascism of the 1930s, statistical charts penned by my father tracking the development of political parties, religious affiliations and labor unions during the 1920s. And lastly it includes images of the woods surrounding my Californian home to tie my hiking experience back to the hiking club of my father when he was a youth in Germany in the late 1920s.
"Bartholomew Park #3" is a page from this upcoming artists book.
Frame courtesy of Holton Studio Frame-Makers
13.5 x 4.75 in.
Monoprint
22.5 x 19.5 x 1.375 in.
Etching, chine colle
14.5 x 12 x 1 in.
Much of my work focuses on various aspect of science, such as my "Art and the Scientific Method" series, my "Art for Physicists" series and my "Gathering Light" series based on a bubble chamber photograph from Lawrence Berkeley National Lab at UC Berkeley. "Memory Traces 1D-LW" is from the Gathering Light series. The etching is Quadrant D of a bubble chamber photo from Lawrence Berkeley Labs, with parts of Lisa Weg's photo of the 3rd degree Fresnel Lens at the Point Cabrillo Light House.
Oil paint on saw
8 x 30 in,
Courtesy of Anonymous Donor
Reductive woodcut print
20 x 25 in. (paper)
22 x 29 x 0.75 in. (framed)
Vintage, a reductive woodcut, refers to the once abundant elephant herds that lived peacefully in the Ivory Coast and other African country rain forests. The print's bound and kneeling elephant comes from a Pakistani miniature showing the animal held down by a dragon. As a metaphor, the subjugated elephant can be seen as having lost its battle with the destruction of habitat and rampant ivory trade. Placing the animal against a "vintage engraving" and using color blocks from a vintage textile, suggests that, like an old botanical print, the elephant, having been sacrificed for its ivory, will soon be seen as some rare antiquated specimen from days long past.
Pinholes and cross stitch on paper
10 x 10 in.
I have long been interested in the intersection of art/craft. This work is from a small series where I was thinking about a ten year anniversary - the traditional gift for ten years is tin. The pinhole pattern is based on tin ceilings. The cross-stitch square is a nod to my paternal grandmother and Joseph Albers and my continued obsession with color/color theory.
Courtesy of the artist and Walter Maciel Gallery
Aquatint, etching 2 plates
ed. 3/25
27.5 x 27.5 x 1.5 in. (framed)
Jane Springwater's work explores the interplay between structure and fluidity, order and unpredictability. Through the repetition of hand-drawn marks, Springwater creates intricate compositions that unfold over time-each mark a moment, a fragment captured through deliberate motion. The process is a balance between control and surrender, where repetition of a single element results in unexpected variations.
Courtesy of Jane Springwater and Municipal Bonds
20.5 x 20.5 in.
Squeak Carnwath (born 1947) is an American contemporary painter and arts educator. She is a professor emerita of art at the University of California, Berkeley. She has a studio in Oakland, California, where she has lived and worked since 1970.
This mono print was part of a series produced for Kala's 50th Anniversary celebration
Quilt
17.75 x 17.75 in.
Regina Stadnik grew up in Kyiv, Ukraine. After immigrating to the US, she continued her art studies at the University of South Florida, where she developed the strong interest in printmaking. More recently her art practice shifted to incorporate quilting, often combining painting and printing on top of quilt surface to build imagery.
Regina uses the soft tactile quality of quilts to explore the themes of shelter and security. Her work, often in muted colors, depicts interiors and cityscapes imbued with longing and hope.
Regina's work is in several public collections, including San Francisco General Hospital, Bienes Museum of the Modern Book, and the University of South Florida. She exhibited at the 2023 De Young Open and is currently an Artist-in-Residence at KALA Art Institute. Her studio is located in Oakland, CA.
Papercut
9.5 x 11.25 x 2 in. (framed)
Miriam Klein Stahl is a Bay Area diasporist artist, educator, activist and the New York Times-bestselling illustrator of Rad American Women A-Z and Rad Women Worldwide . In addition to her work in printmaking, drawing, sculpture, paper-cut and public art, she is also the co-founder of the Arts and Humanities Academy at Berkeley High School where she's taught since 1995. As an artist, she follows in a tradition of making socially relevant work, creating portraits of political activists, misfits, radicals and radical movements. As an educator, she has dedicated her teaching practice to address equity through the lens of the arts. Her work has been widely exhibited and reproduced internationally. Stahl is also the co-owner of Pave the Way Skateboards, a queer skateboarding company formed with Los Angeles-based comedian, actor, writer and skateboarder Tara Jepsen. She lives in Berkeley, California located on the ancestral and unceded land of the Chochenyo Ohlone people, also known as Huichin, with her wife, artist Lena Wolff, and their daughter and dog.
Gouache, ink, dirt, river water on paper mounted on wood panel
6 x 6 x 1.5 in.
Hughen/Starkweather's work explores the complex interweavings of freshwater systems and engineered infrastructures. Central to their work is a research-based, community-centered, collaborative approach including interviews with specialists and community members different backgrounds and perspectives. The resulting abstract artworks invite curiosity and engagement with ecological histories and possible futures, aiming to reconnect people with landscapes.
10 x 8 x 1.5 in.
I often paint animals this particular one I don't know where it came from I don't think I saw a dog that looked like this but my work can often be very fanciful. I work out of my head and just come up with things that lead me along. I'm often interested in the relations between people and what motivates humans.
Courtesy Transmission Gallery
Etching, aquatint
8 x 15 in. (image)
16 x 23 x 1 in. (framed)
I spontaneously use photography to capture visual information. What results are like quick sketches. The camera documents specific moments 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 identify myself as a part of the space. I note that nothing is permanent and everything is constantly changing: light, cityscape, and myself.
I choose printmaking as my primary medium. The printmaking process is reminiscent of the relationship between light and shadow. Etching and aquatint help me express my interest in light and shadow by using their 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. My work became about the physicality of three dimensional space.
Watercolor monotype, acrylic, pencil on paper
29 x 42 in.
Looking at things helps me paint and painting helps me look at things. Creating art is my way of making the everyday world more mysterious and beautiful. My subject matter is often small businesses - the stories and questions they generate inspire me. I'm intrigued by their home-made aesthetics and rooting for them in a world of big corporations. The time I spent as a visiting artist at Kala nourished my soul and this taco truck directly across San Pablo Avenue fed me.
51 x 19.5 x 2 in. (framed)
Many great minds have been captivated by the concept of a single unifying principle that governs the all that is our universe, a principle in which all things are connected by a universal truth. While we often associate this inquiry with the sciences and philosophy, it is also an important influence in the arts. I have long been intrigued and inspired by the concept of a unifying principle and have been creating artworks in which the concept is interpreted through shape, color, and spatial relationships. I create works in which elements function like organic building blocks: atoms form a molecule, molecules form a compound, compounds form a cell, cells form an organism, and so on. The marks, lines, shapes, colors, and textures that are the basic language of my work form a kind of network structure-a system of interconnected nodes that seem energized by their interaction within the network. In the interdependence, synergy, and the flow of meaning and significance within these networks, there is subtle and profound beauty.
Acrylic ink on paper
15 x 11.5 in.
I created this piece for " Wow What a Shit Show" a traveling exhibition in Germany of 20 American artists responding to the present administration, curated by Anne-Marie Stohr. Participating artists:Kai Spelletich, Heather Wilcoxon, Ray Beldner, Erik Parra, John Casey, Ulrike Palmbach,Kara Maria, Gail Tarantino, Peter Mann, Dawn Robinson, Livia Stein, Michele Pred,Stephen Whisler, Adrians Varella, Nilton Maltz, Lauren Davies, Hether Peters, Amanda Curreri,Anne-Marie Stohr, Enrique Chagoya
Graphite on paper
17 x 11 in. (unframed)
Tara Tucker is a Visual Artist living and holding her studio practice in Berkeley, California. She primarily draws and works with textiles, but holds her BFA and MFA in Sculpture from the California College of Arts and Crafts. Sculpture helps round out and inform all of her work. As a kid, she volunteered with her Mom at the local Natural History Museum where she catalogued bones while her Mom did taxidermy. Orchid plants, fruit trees, monsters, and long winded stories were family interests. All of these things find their way into Tucker's subject matter. The life experiences have become much more odd over the years and so the work keeps transforming.
6 x 8 x 1 in.
This piece is one of a series of collected facades.
Hand colored aquatint etching collage on panel
8 x 10 x 1.75 in.
36 x 24 in.
KERRY VANDER MEER explores the natural world through multiple media - from painting, to printmaking, performance and sculpture. Her diverse work has been presented at museums, galleries, universities and honored with multiple residencies - in Spain, Ireland, New York, California and Mexico. Her works appear in collections in U.S., Germany, Spain, Ireland, China, and Japan.
17.25 x 14 in. (paper)
Peter Voulkos was an American artist of Greek descent. He is known for his abstract expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art. He established the ceramics department at the Los Angeles County Art Institute and at UC Berkeley.
Wood engraving
3 x 6 in. (image)
14 x 16 x 1 in. (framed)
Richard Wagener grew up in southern California spending a lot of time in remote parts of the high desert and in the Sierra. Early art classes introduced him to Maynard Dixon and Edgar Payne. After school activities included selling the evening newspapers at the Disney studios where he met many of the illustrators and animators. Richard has an undergraduate degree from the University of San Diego and a graduate degree from ArtCenter College of Design. He has been engraving wood for over forty years and his work has been in a number of fine press editions, most notably with Peter Koch in Berkeley and the Book Club of California. In 2006 Richard established his own imprint Mixolydian Editions to publish his own fine press editions of his work. He has collaborated with David Pascoe of Nawakum Press, Santa Rosa, California, co-publishing three fine press books, one of which, Loom, earned them the 2016 Carl Hertzog Award for Excellence in Book Design. Richard was also awarded the Oscar Lewis Award for contributions to the book arts. He currently lives and works in northern California.
Frame courtesy of Holton Studio Frame-Maker
Lithograph, ed. 4/5
21.75 x 28.5 in.
From 1976 to 1980 I spent part of each year painting directly in archetypical American landscape sites, particularly mostly in the National Parks. I worked plein air with the intent of being as direct as I could and with as little artifice as I could manage.
For two months in the summer of 1978 I drew and painted in the Grand Tetons National Park of Wyoming. While there I also took with me transfer paper on which I drew Mt. Moran with litho crayon. When I returned to NYC, where I lived at the time , I took the transfer paper to Bob Blackburn at his Printmakers' Workshop. Bob helped me transfer the image from the paper to a lithographic plate and then print an edition from the plate in black ink .
Clay ceramic object
3.5 x 3.5 x 3 in.
Inspired by Chinese fu dogs and money-toads, this ritual creature symbolizes protection. It aligns with my practice of exploring human and nonhuman entanglements through painting, sculpture, and installation. Referencing Chinese cosmology, ancient philosophies, and natural phenomena, I often create works that contemplate alchemy, intelligence, and autonomy.
Mezzotint with intaglio
22 x 15 in.
Multiple intaglio
Acrylic and mixed media on wood panel
12 x 12 x 0.75
My larger paintings are more complex compositions mixing representation and abstraction, but sometimes I like to explore their details in smaller paintings, such as this one which plays with layers of positive and negative foliage shapes.
Reduction woodcut
15 x 30 x 1 in. (framed)
My work has always been drawn from the natural world around me and In the words of nature writer Robert Macfarlane , it is often "factually based but imaginatively driven." In this case I was struck by the greenness of the bent trunk covered in lichen and moss.
Handmade washi with fabric inclusions, linoleum block prints and suminagashi
17 x 15 in.
This mono print is part of a series of investigations of incorporating thread and fabric inclusions and printmaking on the artist's own handmade washi.
Courtesy of Michelle Wilson
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
Collage with hand-cut and painted papers, watercolor, gouache
20 x 20 in.
Lena Wolff is an artist, craftswoman, and democracy activist who has been based in the San Francisco Bay Area since the early 1990's. Her work extends out of American folk-art and quilt making traditions, minimalism, geometric abstraction, pattern and decoration movements, feminist art and social practice, with a studio output that spans drawing, collage, sculpture, text, frequent collaboration, and public projects. In 2017, she formed Art for Democracy as an independent project that began with an anti-hate poster in the Bay Area, followed by a public art campaign to boost voter participation that has gained ongoing, national reach in over 25 US States. Her work has been presented in galleries and museums across the country and is held in the collections of ONE National Lesbian and Gay Archives, Berkeley Art Museum, Oakland Museum of California, San Francisco Museum of Modern Art, San Francisco Arts Commission, University of Iowa Museum, Stanford University and the Zuckerman Museum of Art, among others. She lives with her wife, artist, teacher, and illustrator, Miriam Klein Stahl and their daughter in Berkeley, California.
In recognition of their work merging art and civic engagement, November 12th was declared "Miriam Klein Stahl and Lena Wolff Day" in the City of Berkeley in 2019.
Lena's work can be found at Sarah Shepard Gallery in Larkspur, California.
Courtesy of the artist and Sarah Shepard Gallery
Gelatin silver print, artist made frame
9 x 6 x 3 in.
Al Wong is a native San Franciscan artist and has spent the past 50+ years making art in a variety of mediums. His career has developed from his early years as a student at the San Francisco Art Institute where he earned his Master of Fine Arts degree. He went on to serve as an Art Professor for over 30 years at several universities and colleges including the San Francisco Art Institute, the California State University system, and Mills College. He has shown at exhibition venues such as the New York Museum of Modern Art, the Whitney Museum of American Art, the San Francisco Museum of Modern Art, and the UC Berkeley Museum & Pacific Film Archive. Al's work has toured nationally and internationally including Europe, South America, and Japan. He has received numerous awards and honors including the American Film Institute grant, an NEA grant, a Guggenheim Fellowship, a Flintridge Foundation Visual Artist Award, and most recently the California Arts Council Legacy Individual Artist Fellowship.
Acryla gouache on Stonehenge kraft
9 x 12 in.
Beaver is part of an ongoing series of compact gouache paintings recently shown alongside Alice's sculptures made with reclaimed upholstery textiles. Her geometric, pattern-like paintings, all on uniformly-sized kraft paper, demonstrate Alice's linework and dramatic chromatic vocabulary. She composes vibrating color relationships that pulsate with energy. Certain motifs such as a particular kind of zigzag, a loop, a curl, a wave, reappear throughout multiple paintings, and then again in sculptural form, each occurrence opening up the possibility of new readings.
Acrylic on canvas, threads and fiber filling
12 x 12 x 3 in.
This soft sculpture serves as a tactile investigation of memory and the somatic experience of displacement. By utilizing the body as a primary site of transformation and care, the work reframes the artist's history in Seoul Korea not as a static burden, but as a living archive of collective resilience. The prominent stitching and loose, trailing strings act as a physical manifestation of an emotional map, tracing the complexities of navigating longing for a home country while actively searching for belonging within a new community.
Sumi-ink cinnabar on paper
24 x 12 x 2 in.
Black Cat / It Knows (Shirumono) is one panel of the diptych Black Cat / White Cat, whose counterpart is White Cat / Yume Utsutsu / Between Dreams. The diptych developed from a single paired set of preparatory drawings that I created as the conceptual foundation for the series. From these same drawings, I later produced another distinct diptych, exploring how variations in mounting and material could transform atmosphere and perception.Although I do not usually create multiple works from the same drafts, I returned to these drawings to investigate how material presence alters meaning. In this version, I used long-fibered unryu paper, whose textured surface produces a more complex tonal field and subtle shifts of light.While my imagery moves between abstraction and figuration, a constant in my practice is the use of materials closely connected to nature: sumi ink, bamboo brushes, mineral pigments, and earthen colors used in traditional Japanese painting. These materials ground the work in physical presence and tactile depth.The diptych draws upon a classical waka poem from the Kokinshu, layering the phrase "warau kado ni wa fuku kitaru" ("happiness comes to those who smile") with the cyclical truth that after tears, laughter returns. The black cat embodies intuitive knowledge-an awareness that precedes language-standing at the threshold between dream and waking.Throughout my work, I explore the relationship between nature and human consciousness, and the apparent contrast between eternity and the fleeting moment, revealing them as expressions of the same continuous reality.
Courtesy of Fumiyo Yoshikawa
Drawing on MDF, gold leaf, artist tape, graphite, pen, paper
11.2 x 7 x 1.2 in.
Made Lands uses walking and smartphone GPS tracking to turn memories of place into physical form, visualizing time and space through reshaped routes. Satellite-sourced imagery is drawn over these cutouts, creating data-driven artifacts that explore technology, the body, borders, time, and space.
Courtesy of Minoosh Zomorodinia
10.75 x 4 in.
10.5 x 4 in.
4.5 x 14.5 in.
4.5 x 14 in.
Ink jet print
Acrylic, gouache on paper
15 x 11 in.
In my works I explore also the tension of contradictions: organized chaos and uncontrolled order, machine-like images and imperfections, recognizable/known and suggested. I also connect the dichotomies intrinsic to motion (past-present/past-future; transfer vs. change; progress vs. regress; action vs. reaction).I incorporate in my visual lexicon, elements that either borrow directly from or reference Eastern European folklore, Constructivism, architectural diagrams and color theory charts.Collectively, these references also create complex and fractured allegorical "maps" of my physical, emotional, and intellectual journey-a means to explore loss itself as a form of identity that transforms the schema of containment into a ritualized form of self-expropriation.
Screenprint, ink, and glow in the dark ink
19 x 24 in.
As a poet and a writer, "The Other Side of the Sun," presents a new iteration of a continued effort to bring worlds together on paper; worlds of service, fatherhood, sacrifice, and love. Here, handwritten text accents a photo from a previous life, a personal invitation into what is happening on the page, a poet building a new world, one where you the viewer are included. The collection of words clearly presented here represent the start of something, with its conclusion being found in the dark. This print builds on the messaging of previous prints, pushing to cultivate a broader idea of coexistence, community, and connection. Storytelling in shadows, a silent celebration of living in the now.
Printed at Kala studio as a 2025 Veteran Artist in Residence.
Watercolor and ink on paper
18 x 18 in.
This painting is one of a series of abstract works based on weaving, ceramic sculptures and plant paintings.
Collograph on hand-made flax paper
40 x 30 in.
Jonathan Herrera Soto was born in Chicago, Illinois to his undocumented parents who are originally from Iguala, Mexico and immigrated to the United States in the early 1990s. As the first US citizen in his immediate family, Jonathan grew up in what felt like an entirely different world than the one occupied by his loved ones. Jonathan's world was in-between permissibility and illegitimacy, Spanish and English, citizen and refugee.
Witnessing the injustices his family members faced as non-citizens, Jonathan began to see how their migration journey continued-how his parents had physically arrived but were not accepted-and how his own life was an extension of their journey. He began archiving the stories around him and with the support of his parents and older siblings, he applied and was accepted to attend Chicago's first public arts high school and was part of their inaugural graduating class of 2013. There he learned to render the experiences that molded him by making artwork about his family's immigration story.
Jonathan continued his education at the Minneapolis College of Art and Design. As a student in service to various forms of learning, he acquired minors in creative writing, art history, and teaching. In school, he found his voice through the medium of printmaking-he learned how to construct visual material from what is lost as well as create presence out of disappearance.
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