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.

(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.

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 (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 (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.

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 (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 (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 (P1044) by Tre'von Silva. Mixed media on stretched canvas, 2019. 24 x 18". Tre'von Silva creates striking abstract paintings and works on paper. The immediacy and lyricality of his pieces reveal a sense of visual and aesthetic confidence.