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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
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
Screen print on bookboard
30 x 21.75 in.
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
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.
Courtesy of the Artist
Oil on linen
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.
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.
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.
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.
Frame courtesy of City Picture Frame
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.
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.
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."
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
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
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.
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.
Acrylic on canvas
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.
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.
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
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
Monoprint
22.5 x 19.5 x 1.375 in.
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
Frame courtesy of Sterling Art Services
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.
Acrylic ink on paper
15 x 12 in.
Etching, chine colle
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.
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
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.
100% cotton canvas apron with hardware buckle and large pockets reinforced with metal rivets. Cross-back strap design with extra long straps for adjustability and comfort. 27 in. wide x 31 in. height for full coverage. Available in brown and blue denim.
Please specify which color you prefer via email to artsales@kala.org or at time of pickup.
Please note quantities are limited!
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