Route 66 with Cat, 2015

4 color lithograph, AP 1/4, 25 1/4" x 31 1/2" (unframed); 27 1/2" x 33 3/4" (framed)

Courtesy of Jeff Kelley

Framing Courtesy of Atthowe Frameworks

Hung Liu's Route 66 with Cat lithograph is based on Dorothea Lange photography from the American Dust Bowl Era.

Hung Liu first discovered Dorothea Lange's photography when she visited the Dorothea Lange archive at the Oakland Museum of Art and Sciences. Lange obsessively photographed American migrant workers and their families as part of an FSA photography project documenting the effects of the Dust Bowl on the lives of American farmers. Liu saw the same struggle in the faces of the Americans in Lange's photographs that she had felt herself, working 364 days per year for four years, in China's wheat and rice fields as part of her "re-education" under Chairman Mao. Hung Liu found kindred spirits in these American migrants.

In Hung Liu's "Route 66 with Cat" lithograph, you can identify the different layers of color and composition Hung Liu used to create this highly detailed lithograph.

Closer to the Sun No. 9, 2021

Unique silkscreen on paper with collage: wool, dyed canvas, vintage quilt and cotton, 24"x20" (unframed) 26" x 22" (framed)

Courtesy of the artist and Traywick Contemporary

Framing courtesy of Atthowe Frameworks

Created during a recent residency at Haystack, these unique collages are a terrific example of Guerrero-Macia's broad studio practice which includes textiles, painting, drawing, printmaking and sculptural objects. She is most known for poetic abstractions that are assembled from hand-dyed canvas and upcycled textiles that she deconstructs pieces and stitcheds back together. Her work celebrates a visual language and cultural significance that can best be expressed through a material driven process.

Collards, 2017

Spray-paint aquatint on airbrushed paper, 40" x 29" (unframed); 43" x 31 3/4" (framed)

Courtesy of Paulson Fontaine Press
Framing Courtesy of Mark Ryan Fine Art

David Huffman's paintings stage allegories of the black American experience. His paintings depict stereotypical signifiers of this history. Landscapes of futuristic dreams or nightmares are always handled with humor. His abstract narratives are layered with references to music, politics, and art history.

Still Wave, 2021

Photogravure printed in blue on gampi paper with chine collé, 30" x 29" (unframed); 32 1/4" x 31 1/4" (framed)

Courtesy of the artist and Jessica Silverman Gallery

Framing courtesy of Atthowe Frameworks

I've always looked at contemporary culture and reflected on what are, in effect, some of the major building blocks of who we are-science, the built environment, notions of home/domesticity, institutions of learning, etc. This interest, and curiosity in examining our collective history, evidence of time's passage, and how culture is revealed through language and architecture was further explored in this series End Grain: The Displaced Shadow. The elemental shapes used in this work serve as basic architectural gestures; foundational pieces constructed to define shape, space, and volume. Still Wave in particular, presents a scaled up image of a piece of wood with a curved side and exposed end grain. Seeing time's physical passage in the growth rings of the wood, in turn, allows this image to represent time as an abstraction. Photography both embraces and eludes literal description, offering a reinterpretation that moves beyond whatever happened in front of the camera. Much of my thinking about this is based on the idea that there is nothing more mysterious than a well-described fact.

Berkeley Buick, 1979

Lithograph on Stonehenge paper 12" x 18" (image); 23 1/4" x 28 1/2" paper (paper/unframed); 26 1/4" x 31 1/2" (framed)

Signed AP

Courtesy of the Robert Bechtle and Whitney Chadwick Trust

Framing Courtesy of Sterling Art Services

An early pioneer of the Photorealist movement, Bechtle worked for over 60 years visualizing a characteristically American setting through depictions of friends, family and streetscapes in his native San Francisco Bay Area.

Vertices and their Broken Orbits, 2019

Broken and glazed porcelain 18 x 18 x 1.5 inches

Courtesy of the artist

Jim Melchert has been at the center of the Bay Area's artistic growth and served as Visual Arts head at the NEA and Director of the American Academy at Rome. His work has been exhibited at the San Francisco Museum of Modern Art, the Oakland Museum, the Victoria and Albert Museum in London, and the University Art Museum at UC Berkeley. Melchert has worked in a variety of media, including drawing, film, and ceramics. The path of his artistic development is conceptual, and his ideas led him to a unique process involving ceramic tiles: breaking them, drawing on them, reassembling them and painting the new constructions with glaze.

Drawing for Morning, #13

watercolor and acrylic pen on paper 16" x 16" (unframed); 18 1/4" x 18 1/4" (framed)

Courtesy of the artist and Sarah Shepard Gallery

Framing Courtesy of Sterling Art Services

Drawings for Morning #1-13 is a series of works on paper that extrapolates from and improvises on the geometries of known quilt patterns, linking American craft traditions and a history of women's work with contemporary art practice.

Art Experience- 3 Figures, 2021

Hand-cut Adhesive Backed Vinyl on panel,

16" x 16"

Courtesy of the artists

t.w.five is an international artist duo based in San Francisco, California.

We work with one material - adhesive backed vinyl - and focus largely on process. All shapes are hand-cut into strips from larger rolls of solid color vinyl and then carefully applied to the surface of the work. We usually create massive scale installations and integrate the gallery space with our art.

Untitled, 2021

Watercolor on Paper, 13 1/2" x 17 1/2" (framed)

Courtesy of the artist and Sarah Shepard Gallery

Serena Mitnik-Miller's paintings are created by hand using watercolor pigment on paper. The compositions are fashioned by interconnecting patterns of color and concentric shapes where structures break apart, bubbles stack, and pyramids multiply. Each painting must strike a balance between layers of color, repetitive contour lines, and the inherent qualities of all the materials she employs. Her artwork usually begins with an impression from the natural environment, where proximity to the ocean and coastal habitats often become symbolic permanent points of reference.

MM #5

fabric, embellishments, ceramic, 11" x 11" x 8"

Courtesy of the artist and Patricia Sweetow Gallery

The free-form abstractions entangle shards of broken ceramic vessels within coils of crocheted fabric. Employing ordinary household or decorative pottery that's broken and discarded, Ramekon O'Arwisters combines traditional crafts into a dimensional woven tapestry, stripping both cloth and ceramic of their intended function.

Cascade (2.23)

Acrylic ink on synthetic paper, 8"x12"x1.5" framed (approximately)

Courtesy of the artist and Dolby Chadwick Gallery

The cascade form has been an overarching theme in my work for many years, beginning with the "Procession" series of milk spilling down stairs.

@galeantokalstudio

www.galeantokal.com

21.10.25.01 Cerulean Blue Chromium Scarlet Lake Sleeping Beauty Turquoise Genuine Cadmium Orange Hue, 2021

Watercolor on paper, 8 1/4" x 8 1/4" (framed)

Courtesy of the artist and Hosfelt Gallery

Fein restricts herself to watercolor applied to paper in the format of the square or the circle, achieving a wide variety of effects within her tight, self-imposed strictures. Fine dots of pigment, evenly distributed, mask any trace of the artist's hand, yet these paintings are made under conditions of extreme concentration and control.

Veils of translucent color are applied in layers. Sometimes deliberately mis-registered, the edges reveal the component colors used to build the compositions. In 21.10.25.01 Cerulean Blue Chromium Scarlet Lake Sleeping Beauty Turquoise Genuine Cadmium Orange Hue, the distinction between discrete and overlapping colors is more equally allocated. The result is visually akin to weaving. The work strives to harmonize focus and repose, creating a space that is simultaneously tense and tranquil.

Sampler no. 4, 2020

Piece sewn rayon and cotton, batting on panel. 20" x 16"

Courtesy of the artist

Inspired by embroidery samplers that cataloged a new stitch or skill, Sampler Series sets out to create and catalog my own visual vocabulary of form where each piece adds to the whole (series) over time.

Drowning in Our Ego, 2022

Handmade Zinc white pigment on handmade pomegranate dyed hemp paper, 9"x7" (unframed); 14 1/2" x 12" (framed)

Courtesy of the Artist

Everyday we make many choices about what we buy, what we consume, what we eat and what we waste. Do we consider the loss we experience collectively when our choices don't reflect prioritizing our ecological and environmental treasure. Are we never going to have time to make better choices and sacrifice preservation over convenience. Are we greater? Is the Earth greater? Or is our ego the greatest of all?

Untitled, n.d.

graphite and pastel on paper, 8" x 10" (unframed); 9" x 11" (framed)

Gift of Jeremy Stone.

Scott Miller (1955-2008) was an American painter based in Cleveland, Ohio.

Untitled, n.d.

graphite and pastel on paper, 8" x 10" (unframed); 9" x 11" (framed)

Gift of Jeremy Stone

Scott Miller (1955-2008) was an American painter based in Cleveland, Ohio.

SC #371, 2022

Acrylic on canvas, sewn, 14"x11"x1"

Courtesy of the artist and Jack Fischer Gallery

I make my work using simple, direct processes: painting colors onto canvas or fabric, cutting shapes from the painted material, then sewing the shapes onto a canvas background. When finished, I stretch the piece on a stretcher bar.

My pieces include elements of drawing, painting, and more provisional approaches like
mending and appliqué. I rely on the physical qualities of my materials - canvas that is stained or marked, with raw cut edges that have a rough feeling - to evoke different associations.

The invented shapes are important elements in my compositions; they can be minimal
or more layered and complicated, depending on where the work takes me. My default
approach is that less is more, but occasionally I recognize that a piece requires more than less, so I follow the direction the work in progress suggests, participating in the discovery and development it inspires.

I work by intuition or feeling, using a sensibility I've developed over time to guide me, rather
than my critical mind. In this way I've eliminated some of the internal thinking, which for me can get in the way. I do my work, one piece at a time, trying to have no expectations - just an open heart for what is to come.

My own intention is at the heart of each piece I make, but ultimately each painting speaks its own language. When I make art, I have something to say, however, when I stand before a finished work, it has something to say to me. And if the painting works, it speaks not in my voice but in a universal language."

@juanitoparker

jonathanparker.com

Hand Sliding Through Water, 2022

Photogram- Gelatin Silver Print, 14 3/4 x 11 3/4 (framed)

Courtesy of the artist

This image is from an ongoing series, "Beneath My Skin Is The History of My Beauty", which uses water as a common thread that unifies people throughout time. The image explores my Journey, my connection to nature, and transformation.

I create photograms: photographs that are made without the use of a camera. This 19th century process has an immediacy, rawness, and truth that is not found in images created with a camera.

Street Plants, 2019

Etching, 16" x 15 1/2" (unframed) 20 3/4" x 20 3/4" (framed)

Documenting plants outside my window.

norapauwels.com

@norapauwels

Void on Hard Waves, 2019

Papier-mâché, pigment, acrylic, epoxy clay, wood, adhesive, polymer varnish, 7"x7"x 5"

I begin by investigating a utilitarian object in my immediate environment that no longer functions, either due to obsolescence or breakage. Reconstructing its elements based on innate characteristics-I attempt to elevate an object's perceived value, a value separated from its original, intended use.

"Void on Hard Waves" is a part of my Heavy Foam Series, where I save foam packaging inserts, casting them in more solid materials, sometimes using them as building blocks to stack or assemble into new forms. Usually discarded, after serving their purpose to protect other objects, I re-imagine these throwaways as objects-unto-themselves.

Forced Relocation 1881, 2022

Charcoal on Paper, 22 1/4" x 30" (unframed)

30 1/2" x 38" (framed)

Courtesy of the artist

I have been looking at Asian American immigration, entrepreneurship, and migration in my work.

Black Dragon Mine #16, 2017

Graphite on Prepared Paper, 12" x 16" (unframed), 15 1/2" x 19 1/2" (framed)

Courtesy of the artist and Sarah Shepard Gallery

Framing Courtesy of Atthowe Frameworks

Black Dragon Graphite Group is a series of graphite drawings and sculptures inspired by research on, and materially sourced from, Chinese graphite mines. At these mines, graphite is extracted for use in lithium-ion batteries in smartphones and electric cars. My drawings depict abstract shapes that are based on satellite images of the mines and I use this same graphite to construct the artworks. I explore the cost of our green technologies and industries through the materiality of graphite, my body in the act of drawing, and the contemporary lens of a satellite image.

Untitled, n.d.

oil on canvas, 12" x 15"

Gift of Jeremy Stone

Harry Bowden was a Southern California native who studied and worked with Hans Hoffman in both California and in New York City. Bowden formally studied art at the Los Angeles Art Institute, Chouinard School of Art, and U.C. Berkeley. In New York City he painted murals for the Williamsburg Housing Authority and worked on another WPA project led by Fernand Leger with contemporaries Willem de Kooning and George McNeil.

Bowden was a founding member of the American Abstract Artists (1936-39). Gradually, he moved away from purely geometric work and created abstractions having a Cezanne-like distortion to them, favoring landscapes and cubist-influenced figures.

His work is in the Smithsonian American Art Museum, among other institutions.

Ninjinski, 1994

Aquatint, ed. 15/40, 13 9/16" x 7 11/16" (image); 22 3/4" x 17 1/2" (paper); 25 1/2" x 20" (framed)

Courtesy of a friend of Kala

Barry Flanagan (1941-2009) is a celebrated Irish-Welsh sculptor best known for his bronze statues of hares and other animals. He represented Britain at the Venice Biennale in 1982. Flanagan's bronze hares have also been exhibited in many outdoor spaces, most notably on Park Avenue in New York City in 1995-96 and at Grant Park, Chicago in 1996. In 1999, he had a solo exhibition at Galerie Xavier Hufkens in Brussels followed by an exhibition at the Tate, Liverpool (2000). Flanagan's work is held in public collections worldwide including MoMA New York, Tokyo Metropolitan Art Museum, Centre Georges Pompidou in Paris and Tate in London.

O Thee My Planet (Lion 2)

Monotype/Etching/Mixed media, 30" x 22" (unframed)

Courtesy of the Artist

O Thee My Planet is an ongoing body of paintings and prints in my studio. It is a reflection of our lives within nature and its staggering diversity. This particular image of a lion is based on a 5th Century sculpture from North India.

Blind Spot 2, 2021

Ink on book boards, 30"x30"x2"

Courtesy of the artist and Seager Gray Gallery

BLIND SPOT 2 considers the choice I make each day to see or not to see the ways in which I benefit from living in a culture built on a foundation of White supremacy. Once the willful unseeing turns into active seeing, I see White privilege everywhere I look, a creeping network of threads that reach into every facet of life. It is structural and hard to untangle and it feeds on itself, building strength and thriving off of its mutable forms. I see my own personal map of blind spots, seeded and fueled within institutions whose history is soaked in pain, terror, lives harmed and lives lost. Receiving and then transforming these family heirlooms, I seek out, dig into, reveal and unbury my own legacy so as to pull back the layers that hold others hostage on a daily basis.

Changing With The Tides, 2018

Etching; Aquatint, 25" x 25" (unframed); 27 1/2" x 27 1/2" (framed)

Courtesy of the artist

Framing courtesy of Sterling Art Services

I find meaning through understanding the order and structure of things. Visual order expresses relationships; in some cases, mathematical and mechanical, in others, natural and organic. In pursuing this interest, my work incorporates elements of both free-flowing and highly structured expression. I establish a set of rules that then governs the repetition of marks and gestures. I investigate the potential of these systems to generate intricate patterns and unexpectedly evocative forms. My goal is to slow time for the viewer and encourage extended studies both close up and from afar, in a quest for quietude and contemplation, and a thoughtful response from the viewer.

Changing With The Tides is part of my 'In Motion' series. In this series, the gestural repeated marks on the etched surface of the copper plate reflect the repetitive body motion used to create piece, while evoking textures, landscapes, and gradients of shadow and light.

Sporling 1, 2019

Brass, Japanese paper, 15"x15"x4"

Sporling 1 part of a series of "drawings" that I explored natural structures of organic forms.

nancymintz.net

@nancymintz

Untitled, from the After Light series, 2019

Oil on canvas, unframed, 12"x10"

Courtesy of the artist and Jack Fischer Gallery

I first chose to paint because the marks could be seen as a direct expression of an emotion: line, colour and movement, there to be read like a large book open on the wall. It was satisfying to arrange the emotions and create an order and balance. This was a long time ago, but it was the beginning of my need to contemplate my responses to life. Painting is rich in the qualities that reflect these needs. It is direct and responsive, private and flexible. It proposes solutions and then raises new questions that are better than those with which one started.

Red Tailed Hawk, 2020

wood engraving, image: 7.5"x4.5" (image); 14"x10" (paper)

Courtesy of the artist

This engraving is one of twenty-four that were done for the book Cascadia, a celebration of the Pacific Northwest, published by Nawakum Press/Mixolydian Editions, 2021.

richardwagener.com

Driftwood #1, 2022

Relief, Metal Leaf, Mixed Media, 16"x16"x1" (framed)

Courtesy of the artist

Meg Pohlod's visual research examines the body as interior and exterior space. Questioning what happens with memory attached to trauma of abandonment when triggered by image, place and time.

www.meghanpohlod.com

@meghanep

Hara Hara, 2016

screenprint , 24" x 18" (unframed)

Courtesy of the artist and CULT Aimee Friberg Exhibitions

Masako Miki (b. 1973 Osaka, Japan) is a multimedia artist whose work ranges from installation and large-scale sculpture, printmaking, watercolor and felting. A native of Japan, she now lives and works in Berkeley, CA.

Strongly influenced by craft and folk art of different cultures, Miki remains close to her ancestral traditions, especially those that arise from her association with Buddhist and Shinto beliefs and practices, as well as traditional Japanese folklore.

Transience I, 2021

Digital pigment print, 20" x 13 1/4 " (image); 22 x 17" (paper), unframed

Courtesy of the artist and Rebecca Camacho Presents

Through an expansive exploration of self-portraiture, my work weaves together strategies of performance and studio photography to point to the tensions found in the evolving discourse about gender and sexuality. It situates my own body as a performative site to widen queer representation and disrupt the dominant ideology of masculinity.

Equilibre III

Screen Print, 22" x 15" (unframed)

Courtesy of the artist

"In recent years the emphasis of my work has shifted from graphic design to artistic projects. The aim of these have been to define a specific place between abstraction and figuration: rigorous geometric compositions supported by non-hazardous color harmony, as an invitation to a subjective interpretation. My medium has been screenprinting and lithography, and learning how to use a Pantone color guide has had a strong influence on my printing work."

Around the fire, 2022

Linocut/paper, 14" x 14" (unframed)

Courtesy of the artist

The representation of knowledge is born through fire. The figure represents oral stories that I learned from my elders, the respect of oral tradition and its importance in the identity in my family. The opossum is laying down underneath the turtle. Opossum tricked the goddess and brought fire to the community of people giving them protection. The buzzard is holding a banner that says fire in Zapotec.

Your Warm Embrace, 2021

Semi-transparent tape on panel, 12" x 12" x 1.5"

Courtesy of the artist and Hang Art Gallery

I work in a mode of geometric abstraction infused with interests that are social and spiritual, emotional rather than rational, and concern bodies not platonic forms. My work combines an emphasis on opticality and color relativity with an interest in present-moment awareness developed through meditation practice. I aim for compositions that activate the eye and reward sustained viewing with unfolding internal dynamism and the emergence of shifting patterns and color relationships. In this way I invite the viewer to see themselves seeing - and feeling-thinking-being. My goal is for the work to open contemplative visual spaces that are a resource for inner life and being in the world.

This piece was made a year into the pandemic, when my work was layered with reflections on optimism, the challenges of isolation, and supports for joy-vitality-aliveness. Perhaps unsurprisingly, questions about composition - especially spacing, but also shape, points of contact and relation - felt imbued with added significance when making work during this time, even though that significance was not something that translated directly or prescriptively. In the end, Your Warm Embrace was one of a number of varied and exploratory forms reflecting a web of thoughts connected to sustaining optimism and joy under challenging circumstances and my abiding desire to do so.

Study: Blaue Blume 4, 2020

Mixed media on panel, 14"x"14"x1.5"

Courtesy of the artist

I think of my work as organic abstraction and work with forms and structures found in nature, drawing inspiration from landscape and garden. This piece is from a series based on florals, layering painting with relief printing.

The Day with Us and Me, 2016

Etching and gold leaf, 3" x 5" (image); paper 9" x 9" (paper); 10 3/4" x 10 3/4" (framed)

Courtesy of the artist

This small etching is part of "Terrains" - an ongoing body of works that consider elements in landscape and the built environment which reflect practices of privacy, barriers, and navigating shared space. Looking at both the general and specific elements of public lands, suburban landscapes, or city squares, my process begins with visiting a site and documenting place through photography and drawing. This print was begun after a trip to Mount Diablo State Park. The image is a small slice of the blue sky and the tops of coast live oak. The golden brown of the surrounding hills is represented with the small line of gold leaf.

Sarape Variation 4 (graphic music score), 2015

Archival pigment print, 24"x32" (unframed); 32 3/4" x 43" (framed)

Courtesy of the artist

The extent of the work of experimental composer, sonic architect, performance artist and visual media artist Guillermo Galindo, redefines the conventional limits between music, the art of music composition and the intersections between art disciplines, politics, humanitarian issues, spirituality and social awareness.

Galindo's graphic scores and three-dimensional sculptural cyber-totemic sonic objects have been shown at major museums and art biennials in America, Europe and Asia.

Hub, 2022

Oil Bar on Canvas, 36"x36"x2"

Courtesy of the artist

My work investigate ideas about place, migration, loss and belonging. In both paintings and drawings, I often use oil bars, expressionistic mark-making, line and shape, and Hub is an example of the kind of structures I often compose--both vulnerable yet strong.

@steph1dennis

stephaniedennisart.com

Trajectory, 2014

Multiple color etching, Paper: 16 x 8 inches (image); 27 x 20 inches (paper); 37 x 25 inches (framed)

Courtesy of the artist

Kazuko Watanabe is a graduate of the San Francisco Academy of Art University and has taught classes on printmaking at both the Kala Art Institute in Berkeley and the University of California, Berkeley.

Her multiple color intaglio prints are meticulously crafted in a way most printmakers shy away from due to the inordinate amount of time and patience needed for this particular medium. She handles these stubborn metallic plates with such ease and subtlety that the viewer is generally unaware of the fantastic craftsmanship that is employed to generate the beautiful abstract compositions and delicate color gradations.

Pigeon on a Stroll with Flies, 2022

glazed porcelain tile embedded in oil-sealed poplar 6 x 7 x 1" ; tile is 2 x 2x 0.25"

Courtesy of the artist

I work with ceramic, woven textile, and drawing to create figurative sculptures that center overlooked members of human and animal communities. This piece is representative of my drawing practice: glazed 2 x 2 inch porcelain tiles that are embedded like sacred relics into hardwood frames. Here, a ruffled pigeon strides through a cloud of flies into the smoggy atmosphere of the poplar wood grain. A solo exhibition of recent tile drawings is on view at François Ghebaly Gallery in Los Angeles through May 7th.

Staccato Plaid, 2022

Monotype on Kitakata Japanese Paper, 24.25"x24.25"x2.25"

Courtesy of the artist

Abstract monotype exploring the happenstance of striations.

lianng.com

Album Leaf (Polyphonic Assemblage 886), 2022

Silk, cotton, linen, rayon, kapok, paper, wire, acrylic, 50" x 18" x 3"

Courtesy of the Artist

Like my recent sculptures, "Album Leaf (Polyphonic Assemblage 886)" is composed entirely of remnants. It's a form improvised with elements of my former fashion studio practice. Each year, I used to design two collections, beginning by carefully sourcing textiles in a specific palette of colors, textures, and prints. In many cases, my fabrics were woven, dyed, and printed to order. So not only was everything customized and made in limited quantities, each production step involved the human touch of many wise and skilled individuals spanning the globe. This makes every bit of material precious and resonant with personal histories.

The terrible truth is that design and manufacturing generates so much waste before anything even hits the shop floor. Over the past 25 years, I saved and carefully sorted pre-production scraps too small or oddly-shaped to be made into garments. I only recently gave myself permission to delve into this stash and remix pieces from the different collections into sewn forms, stuffed with organic materials whenever possible, and adding recent souvenirs that echo the archival material.

With stitching, weaving, and knotting, Album Leaf (Polyphonic Assemblage 886) binds together disparate materials such as a handprinted silk ribbon from a gift, a strip of a hand-drawn and hand-silkscreened chevron print, a blend of silk and cotton fibers woven on a handloom, raw undyed linen jersey, kapok rescued from a cushion, and sketches drawn on architectural drafting paper.

Lying Awake. Fifth Night., 2000-2017

stone lithograph, hand-colored, 22" x 16.25" (image); 24.5" x 19.5" (paper); 31 3/4" x 36" (framed)

Courtesy of the artist

I was born in Flanders, Belgium, and came to UC Berkeley in 1977 as a graduate student. While studying Comparative Literature I was active as an exhibiting artist, learning stone lithography independently. In 1985, as I was finishing my dissertation, I was diagnosed as unipolar. While recurring mania ended my academic career, my "illness" marked the beginning of my artistic life. I borrow landscapes from the natural world to visualize and normalize the ardor within.

Koons' Ruins (Balloon Dog), 2022

Photopolymer Intaglio, 17"x16" (paper); 24 3/4" x 25 3/4" (frame)

Courtesy of the artist

Koons' Ruins: Balloon Dog is part of a new series that imagines "end-of-life" situations for famous sculptural works that have, perhaps, fatigued the public eye. Like much of my work, this series is based on fictional narrative. In the case of Koons' Ruins, an enigmatic art collector purchases and half-buries Koons sculptures on her estate in order to subject them to accelerated degradation en plein air. When she passes away, her estate is open to the public as the tourist attraction: "Koons' Ruins."

I created this piece by making a labor-intensive drawing using a Wacom tablet and Photoshop, rendering it in the style of an etching with aquatint. The drawing was transferred via film transparency to a photopolymer intaglio plate. "Koons' Ruins: Balloon Dog" is an edition variée with assorted inks and occasional hand-coloring."

kaoki.com

@kathy_aoki_artist

Wildwood, 2022

Oil on linen, 36"x30"

Courtesy of the artist and Upstart Modern

The visual language of my work is formal, material and process based. I strive to set up a visual polarity of what is familiar and unfamiliar as a way to engage the viewer about time passing and the continuous state of change in nature both on a human and geologic timescale.

My intent is to create approachable works that have layer of visual data that can unfold for the viewer over time. I look for ways to transform universal concepts from nature, technology and history into a formal geometric language of shape, color, pattern and form. This kind of work invites the viewer to bring their own experience and imagination to the viewing experience. To me the audience completes the works.

Light Sculpture #1, 1981

Color Intaglio (Aquatint), 24"x18" (image); 30"x22" (paper); 40" x 28" (frame)

Courtesy of the artist

Yuzo Nakano, Artistic Director Emeritus and co-founder of Kala Art Institute. While it's been many years since he has been involved in the day to day at Kala, he remains an important member of Kala's creative community. He is a graduate of Tenri University and Tokyo Gendai Art Institute, Tokyo, Japan. He studied printmaking with Stanley William Hayter at Atelier 17 in Paris. His work has been exhibited in commercial and public galleries throughout the world including the Fine Art Museums of San Francisco, where his works are a part of the permanent collection.

Password Die, 2020

Mood, Roofing Tar, Aluminum, 12"x6"x6" with base.

Courtesy of the artist

This work ruminates on the password culture we now live in and promises a simple user-friendly algorithm for choosing a password. In many of my works, material and process investigations can lead to unforeseen outcomes and viewers are asked to complete the journey.

briscoestudio.com

@steve.briscoe

light, contour & exciting the cell: pocket edition, 2019/2021

screenprint, letterpress, & foil stamp on gampi, peach-fuzz textured paper, hand-backed silk and translucent lexan film, 4.25" x 7.5" x 0.5"

Courtesy of the artist

'light, contour & exciting the cell' is a series that reflects on the transforming nature of light and its ability to reveal, suggest, and change what and how we see. The drawings collect shadows from unseen objects that fall across unremarkable forms, which then create fleeting structures that do not exist. If not for the unique light and orientations in that moment, these locations and elements would have gone unnoticed. Translucent Matte ink is screenprinted on reflective gampi to create tonal inversions that highlight the flipping of the senses and moments of materialization. By responding to materials and research, nif develops work that explores where place and perception meet, and the complexities in the simple act of looking.

Breath of Life (after Clarice Lispector), 2022

Letterpress with handset lead type on Maruju white and Ginwashi papers

9.5 inches in diameter (circular shaped piece)

Courtesy of the artist

"Breath of Life" combines text and letterpress gradients on very translucent papers. The words and colors hover in a visible but hard to fix place. The title comes from a novel by Clarice Lispector - a book of text fragments written near Lispector's death and compiled posthumously. This series draws fragments from her writing and influences from Hélène Cixous' work "Three Steps on the Ladder of Writing," in which she proposes that to begin writing, you must start with death.

Phrases like "The thing is inside out and the wrong way" and "My reverse is a splendor of velvety light" and the formal aspects of ghost prints and translucency have become meaningful within my own understandings of queer and trans experience. These are equally powerful as aesthetic and formal directions - how to create a print that incorporates inside-outness, shifting visibility, and reversal?

My work uses printmaking and resists pressure "to represent" in coherent, singular ways - instead thinking about embodiments, overlaps, and materiality. Identity isn't explicitly visible, but sensed - a collection of objects and texts hovering alongside us.

Low Tide, 2001

photopolymer etching, monotype, 15x15 (unframed), 20 x 20 (framed)

Courtesy of the artist.

Many of my prints feature small objects in landscape settings. The shoes by the edge of the water represent a family with a young child. Raising a child means embarking on a journey into unknown waters.

Cave (without allegory)

Aquatint Etching, Image size 7" x 5" paper size: 8" x 10"

Courtesy of the artist

Through traditional printmaking, sculpture, and mixed media, Cianna Valley examines past experiences and the effect of time upon their accuracy. Themes of loss, value, and regret mingle with those of myth, magic, and ceremony to create a series of composite realities that aim to archive the past, present, and future in flux.

(Dis)location: Here and Now, 2022

Relief print with collage, 10" x 10" (framed)

Courtesy of the artist

During the pandemic I turned to collage to rediscover the pure aesthetic pleasure of working with arrangements of shape and color. While assembling a variety of hand-painted elements into careful compositions, I realized that I was also creating order during a period that felt increasingly divided, flipped, almost unrecognizable. After covering a large wall with 85 collages, I selected a handful to edition on the letterpress. I then translated painted shapes into linoleum, graphic lines into polymer plates, and other detailed components into digitally printed collage elements, allowing me to print multiple copies of each collage. The resulting series, (Dis)location, proposes a make-believe space where the essential play of shape and color offers a healing alternative to the fragmentation of pandemic life.

(Dis)location: Over There, 2022

Relief print with collage, 10" x 10" (framed)

Courtesy of the artist

During the pandemic I turned to collage to rediscover the pure aesthetic pleasure of working with arrangements of shape and color. While assembling a variety of hand-painted elements into careful compositions, I realized that I was also creating order during a period that felt increasingly divided, flipped, almost unrecognizable. After covering a large wall with 85 collages, I selected a handful to edition on the letterpress. I then translated painted shapes into linoleum, graphic lines into polymer plates, and other detailed components into digitally printed collage elements, allowing me to print multiple copies of each collage. The resulting series, (Dis)location, proposes a make-believe space where the essential play of shape and color offers a healing alternative to the fragmentation of pandemic life.

(Dis)location: Somewhere Anywhere, 2022

Relief print with collage, 10" x 10" (framed)

Courtesy of the artist

During the pandemic I turned to collage to rediscover the pure aesthetic pleasure of working with arrangements of shape and color. While assembling a variety of hand-painted elements into careful compositions, I realized that I was also creating order during a period that felt increasingly divided, flipped, almost unrecognizable. After covering a large wall with 85 collages, I selected a handful to edition on the letterpress. I then translated painted shapes into linoleum, graphic lines into polymer plates, and other detailed components into digitally printed collage elements, allowing me to print multiple copies of each collage. The resulting series, (Dis)location, proposes a make-believe space where the essential play of shape and color offers a healing alternative to the fragmentation of pandemic life.

Mouk, No. 25

Aqua Media on Canvas, 13" x 13" x 2 1/2"

Unframed

Courtesy of Jeff Hill

The first glimpse of a new piece enters my mind in moments of wandering thought and often begins as a simple, gestural sketch. The images evolve from these dreams into stage-like settings, part storyteller's fairy tale, part real-time tale of daily survival. I focus on the forces beneath the surface-the dread, the frenzy, isolation, fear, separation, love, intimacy, hope, humor, whimsy. The setting down of these imaginations is both a sifting through and a building of a visual diction, setting one piece upon another as one would set down one word after another in a narrative. In this way the work becomes a vessel for transformation, a new way to begin.

Leave the Driving to Us, 2016

laser-cut relief 25 x 34 inches framed

Courtesy of the artist

For many years, Jimin Lee 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.

Thunbergia XI, 2018

Watercolor on paper, 20" x 16" (unframed); 25 1/4" x 19 1/4" (framed)

Ellen Little is a San Francisco based artist whose large format watercolor paintings draw from nature to explore the interconnectedness of life.

All Together Now, 2017

Color Monoprint, 15"x11" (unframed); 21" x 17" (framed)

Courtesy of the artist

All Together Now is a color monoprint which encompasses my love for color, layering, and textures featuring my favorite symbols of circles and loop-de-loops.

@sharonjue

Permission, 2021

Letterpress Broadside, 8.5"x5.5" (unframed); 11" x 8 3/4" (framed)

Courtesy of the artist

This poem was my pep-talk to myself, written on the first day of my residency at In Cahoots in June of 2020, and printed in 2021 at Kala. I had been lockdown-parenting two small children for months, teaching kids over Zoom, and being kept awake at night by the noises of unrest in Oakland, and I felt lost as an artist amid the chaos. I wrote this to remind myself that showing up to my practice just as I am is enough, even when I am feeling broken. Setting the letters one at a time was like putting one foot in front of the other on the path back to my work.

Vanishing II (Rusty Patched Bumblebee), 2019

Hand colored mezzotint, 11 1/4" x 9 3/4"

The Rusty Patched Bumblebee, a keystone species, once occupied the grasslands and tall grass prairies of the upper midwest and northeast, and into southern Canada. But most grasslands and prairies have been lost, degraded or fragmented by conversion to other uses and so the bees have lost their habitats. Several service agencies are working to recover this endangered species along with other pollinators.

Olivia's Vision, 2017

Acrylic on paper, 18"x18"

Courtesy of Ronnie Sampson

My paintings feature chairs that are found by the roadside. Their settings and condition suggest a narrative of the subjects' lives and personalities. I think of them as figurative paintings.

ronniesampson.com

@einnornospmas

Absence, 2016

Giclée pigment print on Hahnemuhle fine arts paper

4" x 6" (image); 12 1/2" x 12 1/2" (frame)

Courtesy of the artist

For my series Absence, bodies, individually or in groups, are cutout from collected family photographs. What remains are fragments of place; intimate: a backyard, a living room, a bed, a dining table- or in public: a classroom, a bridge, a brick road- that evoke a sense of longing. Absent from captured moments of celebrations or identification portraits, these silhouettes of the invisible hover over the spaces they once occupied, tracing the outlines of their remembrances within layers of time, stranding together new narratives of belonging.

(from Hall of Reflections series, a multi-dimensional art project that works with archives of images and stories that chronicle the complex migrant experiences of the Iranian Diaspora in Northern California.)"

I/We, 2018

Silkscreen Monoprint, 14.75"x11" (unframed); 16 3/4" x 12 3/4" (framed)

Courtesy of the artist

Harnessing her skills as animator, Sarah Klein infuses her work with a sense of motion, capturing fragments of drawings, collages, patterned paper, and color swatches and organizing them into dynamic, layered compositions. Her works are characterized by a visual playfulness and vivacity, which lends a palpable energy.

Palette Painting #175

acrylic on paper, 4.5" x 3"

Unframed

Courtesy of the artist and Anglim/Trimble

I have been using watercolor blocks as palettes to mix my water-based paints on for many years. I save the palettes once they are covered in daubs of paint - my own recycling project. In 2010 I began cutting the palettes into smaller pieces to create "Palette Paintings" - small excerpts from the larger whole.

Odetta, 2015

Screenprint, 24" x 20"

Courtesy of the artist

This is a screenprint of a page from my book Rad American Women A-Z

Why Did Your Grandfather Send You This Picture of Me?, 2010

8 prints 9" x 13"; 5 Prints are 17" x 23"; 12 Prints are 12.75" x 17.25"

Dave Eggers is the author of many books, among them The Circle, The Monk of Mokha, A Hologram for the King, What Is the What, and The Museum of Rain.

He is founder of McSweeney's, an independent publishing company based in San Francisco that produces books, a humor website, and a journal of new writing, McSweeney's Quarterly Concern. McSweeney's also publishes Voice of Witness, a nonprofit book series that uses oral history to illuminate human rights crises around the world.

2020, 2020

Linoblock print with gold leaf, 14"x11" (deckled edges); 15 1/4" x 12" (framed)

Courtesy of the artist

This work was created during my printmaking fellowship at Kala.

shannastrauss.com

@shanna.strauss

Red Chair, 1993

Pastel and Charcoal on heavy drawing paper, framed, 36.5"x28.25"x1"

Courtesy of the artist

This is a part of my drawing practice, using charcoal and pastel, along with other media over time.

Caerulum Exempli (Joni Mitchell), 2020

pigment print, Plexiglas, steel, 12.5" x 12.5" x 2"

Courtesy of the artist

Joni Mitchell was a significant inspiration during a crucial time in my life. As a teenager, I fiercely studied album covers inside and out, noting that Joni Mitchell composed music, wrote lyrics, played guitar, sang, and was a painter. Joni Mitchell - living and breathing in the same world as myself - accomplished these things. The Blue album was my daily soundtrack. By moving the stacking arm off to the right on the record player, one side would play repeatedly. Hour after hour. Day after day. The brilliance of Blue, wrestled from the lived life of a woman, provided the courage I needed to survive a difficult adolescence.

Panorama of Eternal Night, 2021

archival inkjet print on Hahnemühle fine art paper, Paper: 17" x 52"; Image: 12" x 48"

Unframed

Courtesy of the artist and Anglim/Trimble Gallery

A digital study for my monumental painting "Panorama of Eternal Night" (2021) which grapples with the loss, grief and psychological trauma engendered by the global pandemic. The composition combines different media images of the pandemic with famous works of art, with reference to Dante's "Inferno." It connects the past with the present, and bridges art of the East and the West.

One Year (February - Great Blue Heron), 2021

Colored Scratch Board 25"x12"x0.75"

Courtesy of the artist

One Year is a visual journal drawn in 12 monthly segments by Jos Sances. The project is installed in the Kala's corridor gallery, where Jos wants the viewers to experience his pieces as they walk by, never seeing it in its entirety. He wants to give the sense of the passage of time as the work is viewed.

This artwork was created over the course of an unusual year- a visual description of my experiences personal and political. It focuses on the passage of time, my existential decline, due to aging and my observation of the natural world that surrounds me and its complete collapse owing to climate change brought on by the burning of fossil fuel. It also deals with the manifestations of the US's legacy of racism and misogyny. My direct experience with the birds and plants form a linking element to the work. I light-heartedly see my backyard experiences as my own little "Walden Pond" and their connection to the Transcendentalism of the 19th century.

Persona, 2020

Archival pigment print mounted on wooden board, 3 (12" x 12" x 1" each)

Courtesy of the artist

This work as well as my overall practice focuses on discrimination and hyphenated identity, and the constraints on women, their bodies, and their voices. Using photography, and multimedia sculptures of varying scale, and materials that serve as constant physical reminders of femininity, I create narratives inspired by the efforts of women worldwide who are defending their basic, inalienable rights. Envisioning another world, an equal world in solidarity, my work celebrates how womxn go beyond cultural and political limitations, rise up, and create a revolution.

Untitled, 2019

Bronze, 6"x6"x6.5"

Courtesy of the artist and Jack Fischer Gallery

From the series, Appendage.

btrpractice.com

@btrnuthatch

Uno de los cuerpos encontrados la tarde de ayer, 2022

Aquatint, 18" x 15" paper size; 12" x 9" image size

Courtesy of the artist

This piece is part of a series that continues my exploration of drug-related violence happening every day in México; this is derived from a need to find meaning in these brutal events that re-positions the corpse in our field of vision, reminding us that our physical existence is finite.

Golden Hour, 2022

Solar print and metal leaf, 22x30

Unframed

My work uses a lot of photography and is inspired by the environment and the natural world.

A Whale and a Sail, 1995

Oil stick on canvas, 12"x16"

Courtesy of the artist

All of my artwork reflects a lifelong interest in landscape and architecture. For a very long time I have been working in black and white for several reasons. First because I like the full arc of contrast that I get with it. Second, I see a multitude of implied color in the work and each artwork asks the viewer's full participation to imagine the colors they see in their own mind. Third, I love the dense black pigment that feels to me like the soil or the earth itself.

Landforms Composite, 2006

archival digital print, 12" x 22 1/4"

This piece uses the language of very tactile mixed media drawings in new iterations after being scanned and remixed. I'm always experimenting with overlapping processes. I was interested in seeing how drawn lines, relief print and collage would translate in scale that would elaborate upon the narrative.

Here/Hear:Ashland Fir, map, yep here, 2021

Photopolymer gravure, letterpress on Hahnemuhle, 17" x 13" (framed)

Courtesy of the artist

Continuing my research on systems of communication, I have been photographing cell tower trees using my father's cameras. Disguised as trees, the cell towers exemplify our need for internet service everywhere, and our desire for the infrastructure to be hidden. Camouflaged to blend in, they are silent witnesses to our lives, our movements and digital interactions are extracted and sold. Metadata mining is the collection and trading of our personal data. From the analog source I scan the negatives, making photopolymer plates to print a romantic portrait of each tree. In the Here/Hear series I incorporate letterpress polymer text messages, suggesting how our movements and attention are transformed into digital currency.

Cupid Chastised, or the Morning After, 1986

gouache, 10 x 14 inches (unframed); 19.5 x 25.5 (framed)

Courtesy of the artist and Anglim/Trimble

This is the first version of this subject in my work -- Cupid Chastised became a recurrent theme in my practice. The frame labels show the work's provenance: it was first shown at Ianetti Canzoni Gallery, San Francisco; followed by the Fresno Museum of Art, in "Years of Passage," and then Michael Himovitz Gallery in Sacramento.

Measurement (non-atomic) from the Cage meets Heisenberg series, 2017

Photopolymer intaglio (solar etching)

18 x 38 inches (framed)

Enamored with John Cage's explorations into randomness and the impact of Werner Heisenberg's Uncertainty Principle, I use random twisty ties interacting with 19th and 20th century measuring devices to symbolize both Cage and Heisenberg.

Romans, 2012

Mixed Media on Paper, 11x14 in. (unframed); 17 1/4 x 21 1/2 in. (framed)

A lingering memory of an early morning by a fountain in Rome.

From the series "Tensegridad", 2016

Collage, 16"x12"x1" (framed)

Untitled, circa 1980

Lithograph ed. 99/150 signed by the artist

3 ¼" x 4" (image), 11 7/8" x 14 7/8" x 1 3/8" framed)

Robert Kipniss is an American Postwar and Contemporary painter and printmaker who was born in 1931. He received his MFA from the University of Iowa in 1954, and his work has been exhibited in numerous New York City galleries and museums such as the Corcoran Gallery of Art in Washington, D.C. and The Metropolitan Museum of Art and The Museum of Modern Art in New York City.

Buddha Heads, 2008

etching with acrylic hand coloring 34 x 27 x 1.5 inches framed

Robert Brokl is an American visual artist and activist based in the Bay Area, known for expressive woodblock printmaking and painting that has focused on the figure, landscape and travel for subject matter.

Living Room, 2021

Acrylic on panel, 12" x 12"

My paintings and sculptures stem from my interests-ecological sciences, world-building, and the practice of permaculture. I use previous works as points of reference for future creations. Sculptures influence my paintings, and vice versa, as color combinations bounce between the two- and three-dimensional realms. I straddle abstraction and figuration, and shift between the micro and macro, fleshing out what may be difficult to perceive with the naked eye. Characters within the composition, once recognized, act as guides through a humorous and often autobiographical landscape.

Guitarman, 2002

solar plate etching, 20" x 16"

Framed

Drawing with a small sketchbook on my lap in a darkened jazz club, trying to keep people around me from getting interested and making me self conscious. The trick is to get so involved in the absorption of the musicians that my lines mimic their passion. The goal for me is not necessarily to get a likeness, but to capture with rhythmic line the sometiems exuberant, the sometimes pensive introspection that makes watching a musician so exciting. When I get into the swing of it, I make a lot of drawings, including many bad starts. When reviewed in the cold light of day, I decide which are worth working on further. Some become the basis for large monotypes; some are copied onto a light sensitive plate, etched by the light (hence the term "solarplate etching") and printed as an edition. If I am lucky, the person who looks at the finished work will feel something of the experience that inspired it.

Momentary Dance, 2021

Photo etching with chine colle, 28" x 26" (framed), 24"x22" (paper); 12"x12" (image)

Courtesy of the artist

My art practice encompasses printmaking, performance, sculpture, and installation. Recent projects embrace chance and choice; stillness and movement; repression and freedom; conceptual and material; reality and dreams - a collage of personal experiences within the world that surrounds us. My art reflects the shifting layers of ordinary life balancing between the deeply personal and the political. There are references to social justice, betrayal, and struggle.

My work can be configured in different ways, picked up and moved as though it were a performance evolving for a specific site. Ephemeral elements filter into many aspects of my art practice, magnifying the unpredictability of time and outside forces that permeate the essence of my artistic intent.

Pink Chairs, 2021

Graphite + Colored Pencils, 19.5" x 16.5" x 2" (framed)

Courtesy of the artist and Pastine Projects

Chairs are a reoccurring image in my work both two and three dimensionally. My interest in this mini architecture began before graduate school and has persisted. I find the basic structure of a chair and its rudimentary relationship to architectural space compelling. Found chairs often become starting points for sculptural objects and installations and my graphite drawings are layered studies of this structure as I fold it into itself or open it up. Chairs are markers of location in space and for me can become signifiers for place.

Spring Print, 2021

Digital print, 31 x 25 inches (framed)

Carissa Potter lives and works in Oakland, California. Her prints and small - scale objects reflect her hopeless romanticism through their investigations into public and private intimacy. Speaking both humorously and poignantly to the human condition, Carissa's work touches chords we all can relate to - exploring situations we've all experienced at some point in our lives and conveying messages we simply long to hear.

Bishop, 2021

Monotype, 21" x 21" (image); 30" x 22" (paper)

Courtesy of the artist

I can say I paint because it is a way of understanding life.

I can also say that I paint in order to reign in personal demons.

I can say I paint to express experiences of personal sorrow, grief, isolation, and joy. This would all be true but at the same time fiction, a book with confusing ambiguous prose. I paint to see what I want to paint. I create a world that is drenched in color, light, forms, patterns and textures. I paint to learn what I can and cannot do.

Cyprian, 2012

Mezzotint, 12" x 10"

Courtesy of the Artist

Through printmaking, drawing, installation, and sculpture my work explores themes of environmental and corporeal transformation. The visual images and environments I create blur boundaries between the biological and the technological, the organic and the mechanical, and challenge viewers to consider the implications of this merging. Central to my work is the role that society, community and the individual has in the moment of change. Focusing on broader themes of mutation, metamorphosis, and regeneration involving both the landscape and the individuals that inhabit it, I aim to raise challenging questions for viewers about the role they play.

Laugarvatn, 2014

Acrylic and fabric on wood panel, 8"x10"x1.5"

Courtesy of the artist and Walter Maciel Gallery, Los Angeles, CA

Fascinated with hauntingly sublime and sometimes threatening landscapes, my paintings are studies in environmental transitions, atmosphere and light. Luagarvatn is part of a body of work inspired by Iceland's incredible natural phenomenon.

cynthiaonainnis.com

@cynthiaonainnis

Daughter of Immigrants, 2018

Serigraph, 30"x12"

Courtesy of Jessica Sabogal

This serigraph was printed to commemorate the creation of a 25'x60' large-scale public mural installation in Lexington, Kentucky in 2018.

jessicasabogal.com

@jessicasabogal

Ramifications #9, 2021

ink on paper 19 x 22.5 inches (unframed); 23 3/4 x 20 1/4 inches (framed)

The series Ramifications is a work in progress that I started in 2018. I like to create large series over long periods of time. It allows me to dive deep: into a subject, a technique, a material. Ramifications engages me in the concept of Both/And thinking -
peace & misery
process & time
labor & repetition
breathing & marking
personal & obsessive"

Remembrance II, 1999

Etching, 28.5x26.75" (framed)

I practice Kundalini meditation, a traditional Indian form based on rhythmic, cyclical breathing. During meditation, practitioners often enter an altered perceptual state that has specific physical and visual qualities. The sensations in Kundalini are ones of opening or expanding-as if the boundaries between oneself and the external world were dissolving into an interconnected, energetic field. For many artists, studio practice produces that same sense of total identification with the materials, the moment and the process.

A ha, 2022

Acrylic ink on panel with kogin thread overlay, 10" x 8

Courtesy of the artist

Interwoven Conversations: the interplay between stitched fragments explore what appears hidden and what is revealed. Pulling together text, texture and context is a form of spontaneous thought, akin to a written letter emerging on the page

Trophy (Red-Beaked Platinum Harpy), 2021

Glazed Ceramic, 8" x 4" x 4"

Courtesy of the artist

I grew up in a house full of trophies, none of which were mine. My work in general is about dismantling hierarchies and questioning power and value. Currently, I'm making ceramic award forms including trophies with a feminist lens: playing with the representation of "Winged Victory", reclaiming the Harpy from Greek mythology, and carefully considering what and who may be celebrated.

Star Burst, 2021

steel, 24 ct. gold,

13 x 13-1/2 x 1"

This piece, Star Burst, is a melding of linear wire work with the use of a genuine element.

Valley Oaks

Woodcut, 24"x30" (unframed); 30" x 32 1/4" (framed)

Courtesy of the artist

This piece uses the language of very tactile mixed media drawings in new iterations after being scanned and remixed. I'm always experimenting with overlapping processes. I was interested in seeing how drawn lines, relief print and collage would translate in scale that would elaborate upon the narrative.

In The End, 2017

Mixed media collage, 8" x 8" (unframed); 21" x 17" (framed)

Courtesy of the artist

As a mixed media collage artist my work derives from the process of gathering, collecting, and exploring visual and metaphorical connections. My work, which is primarily abstract imagery on panels and paper, begins with applying paint onto pages from found printed material. I paint, cut, layer, arrange and paste the assorted parts, thus transforming their original context into another visual language.

The abstract imagery of my work is inspired by grids, language and text; as well as architecture, engineering diagrams, and the facets of minerals. I am influenced by the mystery of the intuitive process and reflect on a quote by Kandinsky, "there is always an 'and'". For me that speaks of approaching the art process from a place of not knowing.

These mixed-media collages are fashioned from many repetitive cut strips of old ledgers, lined notebooks, and snippets of printed text from discarded books. The form is very linear and horizontal, similar to that of writing. My creative process, which is spontaneous, nonverbal, and subconscious, is revealed as I develop an unknown language of mark making, and making visible the armatures and hidden structures of things and ideas.

The French philosopher Jacques Derrida wrote about the power of the "presence of absence". This concept of not knowing describes my meditative process in which I create subtle, private, and intuitive based imagery.

Why Do We Sing?, 2022

Wood (walnut), sound, audio components

28"x6"x6"

Courtesy of the artist

These songs were sung by refugees from Bhutan, Iran and Tibet, Jyoti Gurung, Sholeh Asgary, Robin Gurung, Sherab Dolma and Shaghayegh Cyrous for Hattori's project "Exinclusivity -Space of Inclusion" originally exhibited at Kala Art Institute and partially funded by California Arts Council and the Zellerbach Family Foundation.

Passage, 2021

Monotype, 22"x18"

Courtesy of the artist

Kristina Paabus is a cross-disciplinary artist with a focus in Reproducible Media. Her work examines systems of logic that groups and individuals use to enforce perceptions of structure. Tools such as language, architecture, and game theory, serve as guides to expose the anatomy of human comprehension. Through a multifaceted approach, she creates images, environments, and situations that explore our relationships to organizational tactics. These hybrid spatial conversations elaborate on the constructions that allow us to interact with and gain control over our surroundings.

Bee Movie, 2007

Archival pigment ink print

13"x19", unframed

Courtesy of the artist

Untiled II, 2017

Cyanotype print

37 "x 29.5" (framed)

Courtesy of the artist

As I work, I strive to make a field of possibilities for discovery within each piece. Making art is a gradual process, elements arising organically out of their interactions with each other, sometimes leaving traces even when they are covered by later additions. My works reflect a creative state of being both attentive and open to the unconscious. They come out of my absorption in the materials and relationships within the work, and they invite the viewer to enter and become absorbed too. Because they are open to the viewer to explore, they seek to create an emotional engagement, without dictating the emotions.

Surround Yourself with Love (inspired by Sky)
2022
letterpress printed relief print, social practice
18 x 12"
Edition of 40

This special print created for Kala's auction grew out of my Christine Wong Yap's Print Public exhibition.

The text, "surround yourself with love," is from a reflective writing activity by Sky about how they coped with the grief of losing their Nonna. When prompted to share what they would tell a friend going through a similar situation, Sky wrote, "Surround yourself with love. You don't need to navigate hardships alone. Sharing challenging experiences with loved ones makes them easier to manage."

Sky's writing was in response to a prompt that I created and exhibited in the Print Public exhibition. I invited the public to to reframe a past adversity-an exercise which can foster meaning, reinforce a growth mindset, and help others. In exchange, participants could receive a free letterpress print which was based on my or other contributors' adversities and resilience. My vision was to create a virtuous cycle of words of wisdom which were grounded in lived experiences from individuals in the community.

I designed the lettering in shapes that reference expanding sound waves and a sense of envelopment. I used transparent pink and orange, which overlapped to create a more saturated red, symbolizing the healing power of connection.

Though this story comes from a place of grief (which is actually something I try to normalize), I tried to make a print which, on its own, would be visually appealing/desirable/collectible! Hope it achieves that for the fundraising purposes!

Brilliant Silence, 2022

Risograph book

8 x 8 x 1/2 inches

"Brilliant Silence" is a Risograph and Letterpress book by Zach Clark including 34 images taken across California, Oregon, Montana, Colorado, Hawaii, Denmark, Finland, and Estonia. It is hand bound in an edition of 40 copies.

Inner Duality, 2018

9 x 12 inches unframed; 12 x 16 framed

Intaglio

Color Separation: Blue 5, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Teal 106, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 11, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Brown Green 3, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 4, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 41, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Pink 42, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Teal 2, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Teal 21, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 18, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 15, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 19, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 23, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 24, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 30, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Brown 9, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Brown 10, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 8, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 13, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 14, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 22, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 31, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 32, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 17, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 81, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 27, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 29, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Red 20, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Teal 26, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 28, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 39, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 43, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 44, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 50, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 54, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 55, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 58, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 68, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Cream 60, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 33, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 53, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 59, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 40, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 48, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 51, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 52, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Pink 37, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Pink 46, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 34, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 45, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Red 38, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Red 49, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Teal 35, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 36, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 47, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 57, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 61, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Teal 67, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 65, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 69, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Brown 66, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 64, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 82, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 84, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Cream 83, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 79, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Teal 74, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Red 73, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation:Purple 72, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 90, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Pink 80, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 92, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Pink 75, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Green 95, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 91, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 76, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Pink 93, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Pink 88, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 89, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Brown 78, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Brown 70, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Red 86, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 77, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 85, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Red 87, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 96, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 97, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Blue 99, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Purple 105, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Peach 102, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Black 108, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Pink 103, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 107, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Yellow 12, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Color Separation: Orange 94, 2016

108 silk screened pages, 19" x 12 1/2" each

During her residency at Kala, Leah Rosenberg created "Color Separation," a 108 layer paint stack referencing Kala's individual studio space and 108 silkscreen prints of those paint sheets.

Light on Fire, The Art and Life of Sam Francis - signed by the author Gabrielle Selz.

The first in-depth biography of Sam Francis, the legendary American abstract painter who broke all the rules in his personal and artistic life.

Based on Gabrielle Selz's unprecedented access to Francis's files, as well as private correspondence and hundreds of interviews, this book traces the extraordinary and ultimately tragic journey of a complex and charismatic artist.

University of California Press, 2021. First Edition. 8vo. Cloth in Pictorial Dust Jacket. Artist Biography.