We invite you to grow with us in our commitment to art and artists by supporting NIAD's Mobile Art Fund. When you give to NIAD, you help us mend the budget gap created by operating two entirely new models of service - a robust Virtual Studio, and a reinvented onsite program. Because your support means NIAD artists' voices continue to find their audiences, artists' practices diversify and experiment with new models as we meet these challenges.
About the NIAD Mobile Art Fund:
In response to COVID-19, we launched the NIAD Mobile Art Fund to ensure equitable access to art supplies and basic hygiene materials for our artists and their families to use at home. Your financial assistance helps NIAD meet the demands of this rapid pivot to remote programming. A contribution in any amount builds our capabilities to continuously deliver essential services to our artists, without interruption, and eases the transition back to a studio with expanded remote learning capabilities.
NIAD Mobile Art Funds will go towards supporting NIAD's expanded capacity to offer services to all artists, regardless of their access to technology. Your contribution provides:
- direct technical support and training for artists and staff;
- digital tools and visual art materials;
- community well-being supports and services for artists and families; and
- the capacity for NIAD to serve artists both on- and off-site with technology designed to connect, regardless of attendance in our physical building, both now and once the pandemic ends.
Our program redesign presents a huge learning curve, from implementing a virtual front desk to the coordination of daily wellness checks, development and delivery of digital learning content, tech support, and staff professional development.
Everything! - Even $5 means the world to us - with your small donations, anything and everything is possible. Thank you.
Snacks! - Help restart NIAD's Healthy Snack program, from our weekly online Cooking Corner to in-person studio snacks for everyone.
PAINTS - Believe it or not, paint is expensive! Did you know, NIAD spends about $5000 annually on paints.
Your donation of $50 helps fill up our paint buckets and provides professional-quality paints for our artists like Marlon Mullen, whose paintings redefined the art world this year!
BOOKS! - In the pandemic, NIAD's library of art books is on the move - help stock our shelves so we can keep circulating new ideas and images to artists!
Guest Artist Fees - Each donation provides one day of guest artist residency along with a modest materials budget, so that NIAD can keep inviting new ideas and practices into our studio. Text 665 to 76278.
Support our Staff! - When you donate to the staff fund, you provide time and space for everything from snacks for get-togethers to mentoring and coaching.
Dedicated Artist Kits! - Fund a year of one artist's supplies for art-making and clean-up! Replaces our shared studio materials for better health and safety. Photos by Nick Despota.
Digital Art Equipment! - NIAD's tablet library includes everything from quick and easy online access tablets to high-end digital art studios-in-a-device.
Sponsor a month of NIAD Window Exhibitions - NIAD Windows continue to enliven 23rd Street with storefront exhibitions visible to foot and vehicle traffic.
ACCESSIBILITY UPGRADES - For the next five years, NIAD will upgrade its floors, doors, bathrooms and HVAC to be more accessible, healthy and safe!
Support our capital improvements with a donation of $2000 towards covering this year's work on renovating studio bathrooms!
Image: Untitled (S0152) by NIAD artist Samantha Kershnar, glazed ceramic tiles (six) 18 x 12 x 1" unique 2020 (tiles are labelled one through six).
NIAD's Mobile ArtLab!! - Your donation of $2500 helps us turn NIAD's van into a roving art studio, complete with hand washing, wifi, and materials for making in all mediums.
Marlon Mullen, 30 x 22".
Market Value $4,000 / Opening Bid Starts at $1,000
Marlon Mullen bases his paintings on found photographic images - mostly from lifestyle, news and contemporary art periodicals - which the artist uses as a departure point for his subsequent work. In the process of developing a painting Mullen's original magazine pages usually become obscured, or literally abstracted, where an image is subsequently reduced to a graphic schema of interlocking colors and forms. Mullen's works lives within the multiple histories of 20th century modernism, while remaining highly personal. Mullen's work was included in the 2019 Whitney Biennial in New York as well as in SFMOMA's SECA Art Awards exhibition. Although Marlon Mullen creates his work at NIAD Art Center, he is represented exclusively by JTT in New York and Adams and Ollman in Oregon.
Untitled (D8803) by Billy White. Mixed media on Braille paper, 2020. 11 x 11."
Fair Market Value $600 / Opening Bid Starts at $400
"With graphic marks and emphatic colors, White conjures portraits that are celebratory and personal. Muscular and energetic brushstrokes coalesce to form complex images that are more emotional than representational. White's subjects include his family and himself, as well as iconic figures -- many of them African-American -- from the worlds of film, television, music, sports, and art history. Captured in profile and at the front of the picture plane, each figure appears isolated, their likeness reduced to essential elements and forms assembled with bold lines and gestures. Often with unexpected shifts in perspective, the resulting works are psychologically-charged depictions of the human form." - Exhibition Announcement, Billy White, Adams and Ollman, Portland, OR.
Billy White has been creating at NIAD Art Center since 1994. He is represented exclusively by SHRINE in New York.
Untitled (Dirty Pink Bone Holder), 12x15x4", Ceramic with resin. Fair market value $3,500. Starting bid $1,500.
Based in Oakland, CA, Sahar Khoury works mostly with found or rejected materials to produce sculptures and installations in paper/textile mache, concrete, ceramic, steel, and silk-screen. Recently Khoury's work has been presented at SFMOMA as a recipient of the SECA Award, and at OMCA, Wattis Institute, BAM/PFA, Rebecca Camacho Presents, and CANADA (NY).
Untitled by Alicia McCarthy, 24x24", Acrylic and enamel on resin.
Fair Market Value $4,500. Starting Bid $0.
Alicia McCarthy transforms found wood surfaces into bursts, geometric blocks of color, and woven patterns often emphasized by text and spray paint. Collections including works by McCarthy include MIMA Brussels, Facebook, and Oakland Museum of California, and recent exhibitions include Wexner Center for the Arts, SFMOMA, BAM/PFA, and Jack Hanley Gallery.
It is Possible, With Dedicated Work by Lukaza Branfman-Verissimo. Black gesso, flashe, colored pencil on panel, 2021. Diptych, 11x14" each panel.
Fair Market Value $2,000 / Opening Bid Starts at $600
Lukaza Branfman-Verissimo (she/her/they/them)is an artist, activist, educator, storyteller & curator who lives/works between Ohlone Land [Oakland, CA] and Powhatan Land [Richmond,VA]. Their work has been included in exhibitions and performances at Konsthall C [Stockholm, Sweden], Deli Gallery [Long Island City, NY], EFA Project Space [New York City, NY], Leslie Lohman Museum for Gay & Lesbian Art [New York City, NY], STNDRD [Steuben, WI], San Francisco State University Gallery, Signal Center for Contemporary Art [Malmo, Sweden], Yerba Buena Center for the Arts [San Francisco, CA] and Berkeley Art Museum and Pacific Film Archive [Berkeley, CA], amongst others. For the past 5 years, Lukaza has been the Lead Curator at Nook Gallery, collaborating with over 80+ artists, writers, performers & musicians, in a gallery located in their apartment kitchen. They are currently getting their MFA from Virginia Commonwealth University in Richmond, VA.
We Are Getting Played by Cliff Hengst. Acrylic on wood, 2021. 9 x 11".
Fair Market Value $500 / Opening Bid Starts at $150
Rogue Agent by Scott Hewicker. Acrylic on canvas, 2016. 14" x 11".
Fair Market Value $925 / Opening Bid Starts at $150
From the series Heads of State which exhibited at NIAD in the summer of 2016. This series explored the connections of abstraction and portraiture to reveal the political and psychological underpinnings of various complex emotional states. Scott Hewicker is an artist and writer from San Francisco. He is represented by Gallery 16. He has exhibited at Deitch Projects, New York, Republic Gallery, Vancouver, BC, Galleri Christina Wilson in Copenhagen, and is currently exhibiting in Portland, OR, at Helen's Costume Int'l. He's been the recipient of a New Langton Arts Bay Area Award, and received an Artadia grant in 1999.
Fair Market Value $300 / Opening Bid Starts at $50
- Four tea towels with a new drawing by NIAD artist Saul Alegria. Silkscreened by NIAD facilitator Bill Zindel. 20 x 20" each, 100% cotton.
- Marlon Mullen monograph, published by JTT Gallery.
- Felicia Griffin feature in Wolfman Quarterly.
- Alt-Text As Poetry Workbook Set by Shannon Finnegan and Bojana Coklyat. Coil-Bound Book Box Set, 2020. 6 x 9".
- 4-Zine packets with pinback buttons by NIAD Studio Artist Heather Hamann.
- Tote by Jason Powell-Smith.
- Series of NIAD greeting cards .
- NIAD apron.
Artworks included in this tote span collaborative, printmaking, and social practices between NIAD artists and NIAD's wider community.
Untitled (100 Days of Drawing) by Rumi Koshino. Watercolor on Paper, 2015-2016. Two drawings, 7x10.25 and 10.25x7".
Fair Market Value $300 / Opening Bid Starts at $100
Rumi Koshino is an interdisciplinary artist and educator based in San Francisco. Her intuitive process of making art is informed by everyday experiences as well as social, emotional, and political climates that surround it. She has exhibited her work in the cities along the West Coast and Japan; including the Catherine Person Gallery and Vignettes in Seattle; Right Window in San Francisco; and Sweeney Kay Gallery and The Chetwood in Oakland. Rumi's collaborations include The Wing Luke Museum and Prairie Underground Clothiers in Seattle. She recently
published a limited-edition art book, Solo Walks -The First 100 Days, from RITE Editions. Rumi will be a resident artist at AGA Lab in Amsterdam in 2021. She holds a BFA and MFA from the University of Washington.
Float by Erin McCluskey Wheeler. Original painted paper collage on panel. 18 x 24".
Fair Market Value $450 / Opening Bid Starts at $150
Erin has a BA in studio art and art history from Beloit College, and an MFA from California College of the Arts. Erin works in paper (found, painted, printed, and cut) to create abstract graphic collage art. Erin associates landscapes and colors with people in her life and while the work is abstract and open ended, it comes from a place of personal symbolism and meaning. Erin teaches at Richmond Art Center, Arts Benicia, and the 92nd Street Y in New York City. In 2018-2019, she was Artist in Residence for the El Cerrito Recycling Center. Her artwork is licensed and sold through West Elm, Samsung, and Minted. She is represented by Jen Tough Gallery and Roaring Artist Gallery. Erin curated multiple shows and exhibited at NIAD frequently, and is a substitute studio facilitator. erinmwheeler.com and on Instagram @erinmwheeler.
(Leaf, Spiderweb, Bone, Pot, Bone, Spiderweb, Leaf) by Simon Tran. Acrylic on wood panel, 2020. Diptych, 8.5 x 8.5" each panel.
Fair Market Value $450 / Opening Bid Starts at $225
Simon Tran aka ghost ghost teeth, a father, educator, and artist born in Long Beach CA and now resides in Menlo Park. He received a BA in Art Practice at U.C. Berkeley. Simon has shown at various spaces including Berkeley Art Museum, Oakland Museum of California, NIAD, and The Compound Gallery. He has created murals in Oakland, Berkeley, Seattle, and Los Angeles. His work is in the Capital One Collection. Currently Simon is the Artist in Education Program Coordinator at SoEx and is the gallery manager at Berkeley Art Center.
"My work is about reconfiguration, resistance, and a hearty bowl of soup. There are sensibilities in my work stemming from a confluence of seemingly disparate influences including post-punk, my family, anime, retro video games, Vietnamese- American culture, the Vietnam War, and mysticism as an act of defiance towards colonial rule. I make reference to the human body through painting organic shapes. A swaddled child or a contorted figure may inhabit the compositional landscape along with patterns that stop, start, and overlap. Color is a strong influence on my work. I combine nostalgic colors that reshapes memories. There is no resolve in the narration of my work, instead there are slow builds that lead to chunky riffs that wormhole into hard-edged noise, all loopy-loopy and stuff. The composition is complicated by these layers of personal narrative mixed with processing a cultural history.
What I Think About When I Smell Eucalyptus by Kari Simonsen. Acrylic on Canvas, 2019. 30 x 24".
Fair Market Value $450 / Opening Bid Starts at $225
"When I was a kid, my mom would always point out the eucalyptus trees to me and say, "Do you smell that? That's eucalyptus. This scent always reminds me of the house I grew up in." Kari Simonsen is a Burmese-Norwegian-American artist. She uses her background in philosophy and language to create small pieces within which reside worlds of thoughtful exercises in translation, understanding, and reiteration. She writes in thread, acrylic and ink, the familiar and recurring shapes and patterns found in the environment around her.
A Hand Prayer to Tracy Chapman (Helped Me to Find My Brothers) by Veronica De Jesus. Pen on color photo print with paper objects placed gently on top, 2021. 21 x 32".
Fair Market Value $3,200 / Opening Bid Starts at $1,200
Veronica is a visual artist raised in several American cities. She illustrates life as an American, in all its varied splendor. Drawing on pop culture icons, sports, heroes and villains, and more, she draws our complex world into focus. Her Memorial Drawings, an ongoing series of illustrations complemented with text, honor the many people who have influenced our collective culture and reflect on loss and mourning. Her work also explores identity and the ways we hide and reveal elements of our personalities. Her work has been shown in galleries in San Francisco, Berkeley, Los Angeles, and Atlanta. She has a BFA from San Francisco Art Institute and an MFA from UC Berkeley. Recently, she was the Head Arts Facilitator and Gallery Manager at UCPLA Washington Reid Gallery where she worked together with artists, staff and community to build exhibitions, curriculum to create more public dialogue around place, space and identity. She has also worked with Liberate Collective offering a Youth Justice Art Workshop Series in LA, as well as doing projects with Boys and Girls Club and Mercy Housing in San Francisco for ReImagine week, a creative project surrounding loss and dying, offering more dialogue and more community support.
Magnesia by Kelly Ording. Acrylic on Dyed Paper, 2019. 24 x 23.5", framed.
Fair Market Value $3,000 / Opening Bid Starts at $1,000
Based in Oakland, California, Kelly Ording has exhibited her work both in the U.S. and Internationally since graduating from the San Francisco Art Institute in 2000. In addition to her works on paper, canvas and collages, Ording has created several large scale public works and murals. Her public works and murals can be seen in San Francisco's landmark Clarion Alley, the Palega Park Recreation Center in San Francisco, Genentech, the Emeryville Center for Community Life, as well as other locations throughout the Bay Area and Internationally. She has completed residencies at the Facebook Analog Research Laboratory, Menlo Park and Kala Art Institute, Berkeley. Ording recently completed a large-scale paving project on Ocean Avenue in conjunction with the San Francisco Art Commission and the San Francisco Department of Public Works. She was the recipient of the 2020 Kala Art Institute Master Artists Award. Her work is included in several collections; such as the San Francisco Museum of Modern Art collection, the San Francisco Arts Commission Public and Civic Art Collection, the Alameda County Collection, JP Morgan Chase Collection and the Ellie Mae Collection, to name a few. She currently devotes all her time to her artwork and her family with fellow artist, Jet Martinez.
Isn't This Still Life by Woody De Othello. Color sugarlift aquatint and spitbite aquatint, 2021. 29.5 by 22.75 inches. Courtesy of Paulson Fontaine Press.
Fair Market Value $1,500 / Opening Bid Starts at $700
Woody De Othello constructs intentionally wonky, anthropomorphized sculptures of common artifacts of domestic life-tables, radiators, flower vases, lamps, television sets-in glazed ceramic, bronze, wood, and glass. Othello infuses his work with humor, whimsy, and touches of African "Nkisi," a belief system in which spirits inhabit everyday objects. In both his sculptures and works on paper, Othello imbues these static household objects with movement and emotion-they are often stretched or slumped over, seemingly overcome by gravity. He received a BFA from Florida Atlantic University, Boca Raton and an MFA from the California College of Arts, San Francisco. He was included in the 33rd Ljublijana Biennial of Graphic Arts in Ljublijana, Slovenia, and has recently exhibited with Karma, New York (2019); Jessica Silverman Gallery, San Francisco, California (2018); Quality, Oakland, California (2016); and UFO Gallery, Berkeley, California (2016). In 2019-2020, Othello was the subject of a one-person exhibition at the San Jose Museum of Art, California.
And hot off the press: Woody De Othello featured in the San Francisco Chronicle.
Untitled (D1197) by Alan Perez. Acrylic and colored pencil on paper, 2019. 20 x 26". Alan Perez is an artist who is interested in the dark side. His work may not always be the nicest or the friendliest, but to be honest with you, he's more interested in the darkness and mysteries of life. Alan is a multidisciplinary artist who works in charcoal, paint, fiber, mixed media and ceramics. While he enjoys many materials, he identifies as a sculptor first, noting that sculpture is much more real and much more appealing to him.
Untitled Apron (F0404) by Alice Sampson. Embroidery and fabric, 2019. 34 x 25". Alice Sampson creates extraordinary work in fiber - amazing fabric watches and richly detailed jewelry - all with an eye for color.
Untitled (D0802) by Ann Meade. Watercolor on paper, 2017. 22 x 30". Ann Meade's work is a truly rare combination of geometric abstraction and figuration. Not unlike some of the work associated with the Mission School, Meade crafts art that features the everyday - baseball players, cats etc - snuggled amidst a gridded decorative field.
Untitled (P0540) by Carlota Rodriguez. Mixed media on wooden panel, 2018. 24 x 20". While sporting and embracing a strong sense of the handmade, Carlota Rodriguez's paintings and drawings draw on the history of geometric abstraction as well as recent formalism.
Trapezoid Cool Of The Day (R0148) by Christian Vassell. Acrylic on vinyl, 2013. 12 x 12". Whether icing monochrome layers of paint on to recycled LPs or layer upon layer of slices of color to canvas, Christian Vassell is mainly a stunning abstractionist. Vassell is also an avid reader and researcher, constantly studying books and pamphlet. He sometimes adds the texts of his reading to a drawing to create an graphic encyclopedia of sorts.
Untitled (P1055) by Danny Thach. Acrylic on wood, 2018. 22 x 17". Using a pared down graphic style that lends a very contemporary feel to his art, Thach often remakes published images and snapshots from the internet into his own.
Untitled (S0922) Artist Tote by Danny Thach. Fabric, thread and acrylic, 2018. 14 x 10". Using a pared down graphic style that lends a very contemporary feel to his art, Thach often remakes published images and snapshots from the internet into his own.
Untitled (P2211) by Dorrie Reid. Acrylic on stretched canvas, 2018. 18 x 18".
Dorrie (Dorian) Reid recently had a successful solo show at Kapp Kapp (Phildelphia) in Summer 2020. From the gallery press release:
"Reid's inspirations are wide-reaching, from animals and environmental concerns, to pop culture and the Black Panther movement. Working between many media, the artist's vibrant and energetic ceramics are the keystone of this exhibition. With examples of African and domestic cats, technicolor horses, and even convexly reptilian figures, Reid's powerful new images, encapsulate the energy of her subjects through playful and exciting means.
Take Untitled, 2019, a free-standing ceramic cat sculpture, for which Reid has charmingly exaggerated its features, applying a humanoid nose with bulging eyes, a wide, open mouth, and a tail curling into the shape of a heart. Doubling down on its spirited form, Reid applies several colors of glaze in vertical stripes and an outer layer of polka-dots, furthering her spontaneous animation. Or take Reid's Untitled black cat sculpture (again referencing the Black Panthers), almost arachnid in its wide sprawl and red detailing, the artist's abstraction is built upon her familiar imagery.
The title of the exhibition comes from a ceramic wall piece, with the same saying interspersed with polka-dots, stripes, and more cat figures, repeating the same motif as in Untitled, 2019, and at once reminiscent of Howardena Pindell's canvasses. Reid often returns to text as a succinct communicative device in her work. In Reid's 2018 wall-hanging quilt All The Power To the Earth, which toys with the iconic slogan of the Black Panthers, the artists suggests the same political urgency to protect the natural environment. Reid's repetition and alteration of this powerful phrase is not unlike her repetition of familiar images. Reid's process allows her to analyze and imagine a vibrant and inventive new form.
Reid, who works out of Richmond, California's NIAD Art Center, lives with a developmental disability. Never Look Down on Anybody Unless You're Helping Him Up will open on July 6 at Kapp Kapp, Philadelphia and run through August 15, 2020."
You can also read about Dorrie on Disparate Minds.
Untitled (P0085) by Elena Rossi.
Embroidery and fabric on stretched fabric over wood frame, 2018.
24 x 30".
Untitled (P1077) by Esmeralda Silva. Mixed media on stretched canvas, 2019. 30 x 48". Whether using clay, fabric or paper, Esmeralda Silva creates lively interpretations of daily life: a family house, fancy cars, and domestic animals.
Untitled (P0938) by Felicia Griffin. Mixed media on plexiglass with found frame, 2019. 22 x 18".
Untitled (P1110) by Heather Hamann. Mixed media on stretched canvas, 2019. 18 x 24". NIAD's prolific storyteller Heather Hamann invites you to dine at her miniature table where roasted chicken, pasta, carrots, and dozens of strawberries keep her royal fairy folk well fed. Heather writes and illustrates fantasy epics, as well as uses the ceramics studio to sculpt the environments, characters, and food featured in her fables.
Untitled (D5548) by Jason Powell-Smith. Acrylic on paper, 2019. 13 x 19". Places are important to Jason Powell-Smith who regularly expresses pride in being a Bay Area native, explaining "I like the Bay Area because it's where I grew up." Bus lines and regional transit stations remind him of specific films and television shows which reappear throughout Jason's art works.
Untitled (P5109) by Jean McElvane. Acrylic on stretched canvas, 2017. 10 x 14". Prior to NIAD, Jean McElvane studied art and music at Contra Costa Community College for two years. She also worked as an artist's assistant. Her paintings and drawings tend toward realism, but the majority of her work is in the craft field, creating meticulously built fiber projects or using recycled and found materials to build amazing objects that capture the essence of insects or creatures.
After Ugo Rondinone (D1242) by Joseph Rux. Colored pencil on paper, 2019. 20 x 26". Joseph Rux's work is grounded in a curiosity about the functions of the world around him. Rux works primarily in print making, drawing and painting. Additionally, Joseph is an active and engaged member of the local art community, having participated in NIAD group critiques and presented his work at Pixar Animation Studios. Joseph Rux's influences include: Post-Impressionist Vincent Van Gogh, the sculptor Ugo Rondinone, Social Realist Grant Wood, as well as fellow NIAD artists Sara Malpass and Deatra Colbert.
Untitled (D4500) by Julie MacDonald. Colored pencil on paper on wood panel, 2017. Julie MacDonald's work is exploration of contemporary abstraction, whether its the gridded quilt-like patterns of her Mission School influenced geometric drawings or her more psychedelic, but equally vibrant meanderings in ceramics.
Untitled (P1031) by Karen May. Mixed media on found book page on wood panel, 2019. 9 x 14". Over the last several years, Karen May has created and continued a series of detournements, manipulating art exhibition advertisements in art periodicals with ink and marker.
Untitled (D5613) Artist Book by Karen May. Unique drawings in a found and modified box, 6 x 6 x 1".
Over the last several years, Karen May has created and continued a series of detournements, manipulating art exhibition advertisements in art periodicals with ink and marker.
Untitled (D0651) Artist Book by Luis Estrada. Mixed media on found book. 9 x 10 x 1". Upon first encounter with Luis Estrada's work it is evident that the artist is obsessed with the weather. His paintings and drawings are peppered with meteorological symbols and diagrams. One quickly notices that entangled among the weather forecast is information about the local train systems - freight and transit - as well as images from professional wrestling.
Untitled (P0968) by Luis Estrada. Acrylic on stretched canvas, 2019. 24 x 30". Upon first encounter with Luis Estrada's work it is evident that the artist is obsessed with the weather. His paintings and drawings are peppered with meteorological symbols and diagrams. One quickly notices that entangled among the weather forecast is information about the local train systems - freight and transit - as well as images from professional wrestling.
Untitled (P0791) by Maria Radilla. Mixed media on stretched canvas, 2016. 30 x 30". Marilla Radilla says, "I started creating art at NIAD in 2005, and since being here I've learned how to make dolls and embroider quilts in my own style. I'm inspired by my childhood in Mexico, fashion, food, flowers, and traditions where we give and receive gifts. These are the things that I really love. When I make artwork with fabrics, I think about my experiences: growing up, I had dolls and played with them in fields of flowers by my home. I love flowers that are red or yellow or white. I also look at a lot of books, especially a big book of colorful birds and a catalogue filled with pictures of beautiful old dolls. I go through the images and pick a different doll to embroider onto a quilt or make into my own doll. I've also made dolls based on figures in paintings, like the people in Goya's paintings of the Spanish courts."
Untitled (P1651) by Matthew Wilson. Mixed media on board, 2016. 16 x 20". The thing that's fascinating about Matthew Wilson's drawings is that he draws the interior and exterior of machines at the same time, as if he has x-ray vision. And, after studying videos of machines, heavy equipment, transportation and amusement park ride, he creates his drawings from memory.
Untitled (P0096) by Peter Harris. Acrylic on stretched canvas, 2018. 26 x 35 x 35". Peter Harris has been creating work at NIAD Art Center since 1995. During this time, he's developed a robust multi-disciplinary practice that includes lustrous ceramic vessels, prints, and artist books. The above photographs feature the artist surveying progress on his month-long solo exhibition. NIAD's garden and window sills boast an impressive collection of Peter's ceramics, which double as dazzling planters, year round!
Untitled (P0075) by Shana Harper. Acrylic on stretched canvas, 2019. 38 x 40".
Shana Harper's artist statement: "I am a phenomenal artist who works primarily in printmaking, ceramics, textiles and drawing.
In my drawings I like to work with holes or gaps, especially in my nature scenes. Sometimes that's me, sometimes I'm in a hole trying to get out of it and a lot of my art is about my feelings. When I work in the studio I like to stay in one spot so I can focus.
I like to draw variations of an image; a flower, a leaf. I like to repeat an image; that's why stencils and printmaking interest me. I like to work an image until it's perfected. I also like to challenge myself. Learning printmaking was a challenge over the last decade.
In my ceramics I have made several pie sculptures since food is about memory to me. I made an apple pie sculpture to remember a loved one who has passed away. Working with clay I like the feel of it, I like smoothing it out, I like perfecting it.
I want my art to expand into the world. I want to make useful things like napkins and pots. Things that people use and wear everyday. I want you to know that being an artist is the best feeling in the world. "
Untitled (D0912) by Shantae Robinson. Mixed media on paper, 2017. 23 x 29". Shantae Robinson knows how to use color. Her abstract paintings and drawings - often based on a grid structure - come alive with color, seeming to emit some sort of life vibrations.
Untitled (F0403) by Susan Wise. Yarn and mixed media, 2018. 17 x 17 x 1". Unlike traditional basket making, which uses a very regimented math to tightly and firmly weave the materials, Susan Wise invented her process. She first layed out the twine or rope and began shaping it into the vessel, and then, using a different diameter of string or yarn, lashed the coils into place.
Untitled (F0408) by Sylvia Fragoso. Mixed media wallhanging, 2019. 21 x 18". Sylvia Fragoso's drawings are striking in their originality and conviction, evincing a brilliantly intuitive grasp of color and design. These mesmerizing abstractions and swirling striations - sometimes embedded with religious symbols - pulsate with color and energy, like mosaics that have burst open into hallucinatory vortices.