The Oddities of Marbling Garden series, Saffron, Amnesia, 2022

Marbling, watercolor, and gold paint on BFK Rives paper, 30" x 22", Framed

Courtesy of the artist

Saffron, Amnesia, shows saffron crocus flowers, after the flower images in Mattioli's 16th c. botanical book, on a hand-made marbled landscape. A word written in Persian says, Faramoushi (Amnesia), which refers to saffron healing properties; consumption of saffron spice improves the cognitive abilities of patients with Alzameri's disease.

Marbled papers decorated manuscripts and books, throughout the history of book-making. Marbling-a plant-based printing method from late medieval Iran-uses natural pigments, solution, and oil. As a printmaker, I have found this old technique as a new "territory" to portray nature from historic, medicinal, visual, and cultural angles in diverse contexts in my work.

In creating my prints I will treat the patterns as less conventional to allow room for content and additional visual elements. The patterns suggest turmoil and fragmented landscapes alongside the hand-written healing properties of plants in Persian, which have double meanings and cultural connotations.The name of the series is inspired by the 13th c. manuscript, The Wonders of Creation and the Oddities of Existence (Ajayeb al-Makhluqat va Gharayeb al-Mowjudat) written by Qazwini, the celebrated medieval geographer and natural historian.

Albany Mudflats triptych, 2022

Colored scratchboard, Panel 1: 72" x 24", Panel 2: 12" x 24", Panel 3: 36" x 24"

Courtesy of the artist

For over 45 years Jos Sances has made a living as a printmaker and muralist in the San Francisco Bay Area. He founded Berkeley's Alliance Graphics, a successful union screenprint shop, and several years earlier co-founded Mission Gráfica, at the Mission Cultural Center in San Francisco. Throughout these years as a union and community printer, Sances steadily and consistently maintained an output of politically engaged art.

Smith River Reverie IV: Migration, 2023

Mixed media collage with original imagery printed on 100% cotton rag paper, 13.75" x 13.75" x 4", Framed

Courtesy of the artist

My current body of work examines California flora and its last wild river, The Smith, through dimensional collage. These works incorporate original photography from, and digital imagery inspired by, my engagement with nature-especially my daily wanderings near my Berkeley, California home and along the Smith River near the Oregon border. I print my imagery on 100% cotton rag paper at Kala Art Institute, then cut, paint, and construct dimensionally. These works are intentionally mandala-like, embodying my experiences, reverence, and wonder.

Pocket Wave Maker, 2020

Acrylic & mica on panel, 8" x 8" x 1.5"

Courtesy of the artist

I pay attention to the mechanics of painting while maintaining anexperimental approach. I continue to make the gestural, controlled, linear layered pieces, however I am becoming increasingly fascinated with how paint moves and self-organizes. My impulse is to let it free, use gravity and force to release the pent up energy within the linear beads of pulled paint (marks left from pulling my carved tools across the surface) into unexpected blasts & bursts of color and form. In some paintings, I incorporate gravity and force to move paint across the substrate. Wet, painted stripes surge and break into an organized chaos of marks and color. I'm guiding the paint, but the work exists between chance & intent. It's important to let these paintings take on their own seemingly random direction.

Goldtriform Lead, 2019

Lead, enamel, 24 CT gold, wood, 8" x 8" x 0.5"

Courtesy of the artist

This work is part of my investigation into how close I can get incorporating real elements in my practice. I also add other "elements" like plant material, stones, wood and found objects, which I think of as studio elements.

CASCADE (3.11.22), 2022

Acrylic ink on synthetic paper, 8.5" x 12.5" x 1.5", Framed

Courtesy of the artist and Dolby Chadwick Gallery

Part of my ongoing series of "Cascade" paintings on synthetic paper.

Buried BMW (Koons Ruins), 2022

Photopolymer intaglio with watercolor, Plate area approx: 16" x 21.5", Framed (26" x 32")

Courtesy of the artist

"Buried BMW" is part of my "Koons Ruins" series, in which a disillusioned art collector hates Jeff Koons's work so much that she buys pieces and subjects them to accelerated degradation on her estate. This piece depicts the semi-interment of a Koons' BMW art car that was manufactured in an edition of 99 at the retail price of $350,000. The position of the car gives a nod to "Cadillac Ranch" by members of Ant Farm.

Give Me This Day, 2023

Collagraph with chine colle, Paper: 10" x 10" ; Image: 6" x 6", Unframed

Courtesy of the artist

This piece is part of a series exploring personal methods of tracking time during the COVID-19 lockdowns.

Long View Study No. 20 (Bernardo O'Higgins), 2012

Cut paper, gouache, and graphite on Amate paper mounted on board, 12" x 9"

Courtesy of Chaset/Dumas Family

Michael Bartalos is a visual artist working in print, video, and sculpture. His ongoing project, titled The Art of Recycling in Antarctica : The Long View, is a series of multimedia artworks that address polar science, history, and environment. The project's objective is to raise international awareness of resource conservation and eco-preservation practices in Antarctica, and by extension, promote and inspire sustainability worldwide. The Long View is facilitated by an Antarctic Artist's and Writer's Program grant from the National Science Foundation.

Naked Seed Plant, 2023

Cotton, screen printed linen, rayon, thread, batting, canvas and poly pom trim., 29" x 24" x 0.5", Unframed

Courtesy of the artist

My sewn textile works celebrate the marginalized traditions of textile, decorative and folk arts and their inextricable association with the maternal, the domestic and the feminine. In "Naked Seed Plant" I've used fabric that was screen printed during my residency at Kala.

Can I Say That, 2023

Ink, watercolor on paper, 8" x 8" x 1", Framed

Courtesy of Transmission Gallery

I use painting, drawing, and sewn textiles, to produce conglomerate installations of intimate diaristic works that subtly pair the fragile, interior and domestic with the dangers of the external world.

Understory, 2022

Oil on panel, 24" x 12" x 1"

Courtesy of the artist

I work from photographic images I take or find through my phone which possess a quality of sublime. The rate at which we take/consume images is ever growing so to hold these images for hours on end, moving through my eyes and out my fingers into paint on a wood surface is all the more profound of an experience of observation and devotion to natures and the technology we use in our daily lives to capture it.

Pool Party, 2022

Acrylic, 12" x 12" x 7/8"

Courtesy of the artist

My practice is about seeing better, solving problems that arise in the context of painting and drawing and is largely representational. This study is all about the challenge of capturing color temp and saturation, dynamic reflections, and spatial relationships a moment just before the first splash.

Balance, 2021

Acrylic/Linen, 15" x 20" x 1"

Courtesy of Anglim/Trimble Gallery

I am an ardent observer of life's visual rhythms and fleeting moments. I am especially interested in the relationships and patterns that we create during our lives, which over time, come to define us and make us definable to others.

Love in the mist, devil in the bush, 2022

Screen-print, dirt on paper, Print: 26" x 40", Framed

Courtesy of the artist

Defne Beyce is a Turkish-born, Bay Area-based printmaker. Inspired by her family history of continental migration and time living in the American west, she explores ideas of space, location, movement, and roots. She forages and collects plants to learn about their fluidity, rootedness, interactions, and migrations. Her work manipulates the screen-printing process to prioritize using found and dimensional materials such as plants, clay, dirt, and ash.

Love in a mist, Devil in the bush
Every spring, Nigella Damascena and Nigella Sativa reveal their pale blue or white star flowers surrounded by a haze of ferny leaves. In the heat of summer, the flowers transform into distinctive maroon-striped seed pods that eventually crack open, spilling their shiny black seeds.

These black, shiny seeds are familiar to me. I remember one and live with the other. The Nigella Damascena seeds that sow freely in my American backyard are beautiful but inedible. The Turkish borek and pide I grew up eating carried a sprinkle of what we called black cumin, Nigella Sativa, across the top. The common names are the same - Love in a mist and Devil in the bush.

The nigella plants used in this print were gathered in my Redwood city backyard and printed with dirt from my current home.

Studies from Life, circa 1952-1969

Graphite on paper, 8 1/2" x 11", Framed (12 1/2" x 16 1/2")

Courtesy of Marna Clark

Sketchbook page of Elmer Bischoff dating circa 1952-1969. Bischoff executed many figure studies in ink or graphite. While most of these drawings are not direct studies for paintings, they do illustrate common themes in his figurative work, figures in spare interiors or repose.

"Raise Boys and Girls the Same Way" Jenny Holzer. Painting from David Ireland Archives. Bring the women out of his archive and onto the walls of his house., 2022

Paint and Pencil on Paper, 12" x 15", Unframed

Courtesy of the artist

"Raise Boys and Girls the Same Way" Jenny Holzer. Painting from David Ireland Archives. Bringing the women out of his archive and onto the walls of his house. From my Capp Street show "The Way Things Also Are".

Untitled, 2021

Acrylic on wood panel canvas, 8" x 1.5" x 8"

Courtesy of the artist

A brick test for a series of paintings that were displayed at Kapwa Gardens from 2021-22.

three stones, four, 2023

Collage, mixed media on wooden panel, 9" x 12" x 1"

Courtesy of the artist

I am in the midst of re-learning the limitless possibility of simple shapes and how they relate to one another.

Ovio, 2019

Raffia, paper, acrylic on wood panel, 6" x 8" x 1"

Courtesy of the artist

I have always been interested in taking an idea or a set of limitations and allowing it to evolve. In 2015 I began stitching with raffia onto 5"x7" pieces of Asian paper. Over time I began to mount some of them onto panels. Eventually I glued the raffia to create a freer and more uneven line and included layers of paper, ink, gouache or acrylic. The simple shape evokes a mysterious nonverbal language.

Balance Is a Wave, 2021

Digital print, 1/15, 15" x 30", Unframed

Courtesy of the artist

This is a video still from a music video.

Courbes, expansion (20 minutes), 2019

Exposures on gelatin silver paper, 14" x 11" x 1.5", Framed

Courtesy of the artist and Johansson Projects

Using reflective tools like bent metal and glass, I make photographic documents through the lumen print process. Oscillating between two-dimensional images and three-dimensional objects, my compositions merge organic embodied forms with the natural world, anchoring my place within a universal experience. Exploring themes of embodiment and cosmology, my practice integrates the sinuous movement and sensuous contours of light.

Exchange, 2021

Intaglio, relief and inkjet, Image: 10" x 10", Paper: 18" x 19", Unframed

Courtesy of the artist

This work is from a recent exhibition, "Found Anatomies," in which I explored themes of environmental and corporeal transformation, blurring boundaries between the biological and the technological, the organic and the mechanical, and challenge viewers to consider the implications of this merging.

(Dis)location: Everything at Once, 2022

Letterpress printed with polymer plates and inkjet collage elements, 10" x 10", Unframed

Courtesy of the artist

From a series of collages entitled (Dis)location, proposing a make-believe space where the essential play of shape and color offers a healing alternative to the fragmentation of pandemic life.

(Dis)location: The Same But Different, 2022

Letterpress printed from linoleum and polymer plates, inkjet collage, 10" x 10", Uframed

Courtesy of the artist

From a series of collages entitled (Dis)location, proposing a make-believe space where the essential play of shape and color offers a healing alternative to the fragmentation of pandemic life.

The Pair in a Tree, 1963

Lithograph, 12" x 9.5", Framed

Courtesy of Amrita Singhal

Marc Chagall was a French-Russian artist whose work anticipated the dream-like imagery of Surrealism. Over the course of his career, Chagall developed the poetic, amorphous, and deeply personal visual language.

Chuangyen, New York, 2022

Archival pigment ink print, 18" x 24", Framed (19" x 25" x 1")

Courtesy of the artist

This image is from a larger book project I am working on that contemplates and imagines my family history. The project was prompted by my Chinese lessons with my late grandmother and looking through old family photographs and letters. Much of my work explores inter-generational trauma, language, and distance.

Emotions from the Conscious, 2018

Monotype, Image: 12" x 12", Paper: 20" x 22", Unframed

Courtesy of the artist's family

Jen Cole was a printmaker based out of the Bay Area, CA and artist-in-residence at Kala Art Institute. She worked as a fine arts printer for ten years after completing her graduate work at San Francisco State in 1985. She was a resident at Vermont Studio Center, Woman's Studio Workshop in New York, Playa Art Residency and Empriente in Luxembourg. She found printmaking to be the perfect medium for mixing and blending different techniques for experimental outcomes.

Untitled, 2017

Mixed media on paper on panel, 12" x 12", Unframed

Courtesy of the artist

This piece comes from a series of small paintings done in 2017 in which I explore ideas and concepts of the patterns and structures that emerge from self-regulating systems.

Aaaaahhhhhhhhhhhhhhh, 2018

Acrylic paint on panel

6x6x1"

Courtesy of the artist

I find it cathartic to make images that explore mental health and my personal struggle with depression and anxiety in a humorous and self deprecating way. I choose color palettes that feel "fun" to get people to look.

Cleveland 2, 2018

Photo-based woven textile, bleached, hand-dyed and unraveled, 28" x 38"

Courtesy of the artist

My recent body of photo-based textiles titled Industry Unraveled draws attention to both current practices of online commerce and the history of manufacturing in the Rust Belt. The work intertwines images that represent regional history and abandoned manufacturing sites with processes derived from the affordable immediacy of web-based commerce.

The photographs that I've throughout Northeast Ohio and other Rust Belt locations are processed into digitally woven versions of my images using cotton thread. I selectively pull threads from the woven image combined with over-dying, bleaching and manual collage using a sewing machine. The combination of these hand-worked processes creates a visual impression that the image is dematerializing, fading away, and unraveling into a pile of disconnected threads cascading towards the floor.

Night Butte, 2023

Oil on canvas, 16" x 20" x 1"

Courtesy of the artist

My practice explores our sense of place, belonging and connection, which I see mirrored to us in nature. Night Butte is a psychological totem of standing alone while also being bound together.

Vanishing X, Monarch Butterfly, 2020

Mezzotint engraving and watercolor, 11.5" x 14.5" x .75", Framed

Courtesy of the artist

"Vanishing X" is from a series of 11 mezzotints of endangered insects. And it is in the artist book "Vanishing" with all 11 insects and poetry by Jane Hirshfield; book binding and letterpress printing by Rhiannon Alpers.

22.10.28.01, 2022

Watercolor on paper, 10" x 10", Framed

Courtesy of the artist and Hosfelt Gallery

Nicole Phungrasamee Fein "follows finely ground black materials like graphite, iron oxide, ink, and watercolor as they compose themselves into squares on white paper and paperboard into the visual equivalents of drizzles, sediment, pools, and fog. In a sense, they have weather. Metaphors of the mind (stormy, misty, unpredictable, disoriented), their weather are also literal acts of drawing. The artist calls them "water drawings." (Jeff Kelley, 2020)

In Fein's "water drawings," the vehicle - water - carries the pigment as it moves. The watercolor, no longer under the control of a brush, reveals the way water naturally behaves. Alluvial currents and splattered rain patterns are both inspiration and result. Fein deftly guides the process. The pigment settles in small puddles, and when the water evaporates, the pigment remains in patterns drawn by water.

Variation in Red, 2023

Woodblock monoprint, 12" x 8", Framed

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.

Fuyuu, 2018

Etching, 16" x 11.5", Framed

Courtesy of the artist

Today, I seek a space where I can continue creating such meaning from the abstract shapes I cannot get out of my mind; a space where I can not only play with colors found in nature and explore the concept of fuyuu (which means "floating in the air" in Japanese) but also observe how the past and present intersect to a meeting point - and what tensions emerge as a result.

Hills With Elusive Edged in Glowing Orange., 2018

Watercolor on paper, hand painted and pochoir printed, 11" x 16", Framed (18" x 22")

Courtesy of the artist

Seeing the classic landscape through a contemporary perception of light, space and impression. Pushing the edges of drawing and printmaking with layered photographic halftones. Leading it a step further to make them loose, washy, textured by the hand and the nuances of laid watercolor. How those delicate overlaps of color washes and little pools of tinted water dissolve the perfection of a ben-day dot, but still give a veil of image. What is obscured, what is illuminated? What becomes seen though shape and shadow?

Earthtones - CS7, 2018

Watercolor and gouache on paper, 14" x 10", Framed

Courtesy of the artist

These small scale works on paper support my overall shape and color development for my larger pieces. The simplicity of them also helps me explore color combinations.

All the Fire, 2020

Mixed Media (Drypoint with collage), 25" x 21", 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.

Sitting Down Close, 2022

Watercolor, goauche on kagzi paper, 9" x 13", Framed

Courtesy of the artist

Linda Geary's work is inspired by material processes of cutting, revision and repair. She uses collage and other approaches that reference actions of sewing and construction, modes of working that sometimes exist outside of the patriarchal history of painting, and more akin to laying a path of stones or making a quilt. Other parts of the process involve erasure, invisibility and camouflage. Textiles provide an alphabet of shape, color and pattern that she works with in order to let the work "fall apart" in order to experiment with different ways of putting it back together.

Interior 37, 2021

Graphite and color pencil, 16" x 16" x 0.5", Framed

Courtesy of Pastine Projects

This is from a shelter in place series that started during Covid.

Untitled (Colorblock Series), 2023

Thread and paper, 16.5" x 13", Framed

Courtesy of the artist

Slipping between the lines of art, craft, and design, I like to say the common thread in my work is thread. For my core body of work, I hand-sew thread into paper to create intimate works that invite us to hold a kind of presence and take pleasure in looking. In the words of Anni Albers, I hope they "let you breathe with a different kind of happiness." This piece is from the Colorblock series, which explores perception and optics in relation to mood and emotion. Using rectilinear, repetitive line work, the compositions allude to the fundamental vocabulary of textiles -- the warp and the weft- and often incorporate hard-edged geometry. Threads interlay between threads to create color interactions that move with the light, like a spider web in sunlight, and summon the poetry of everyday materials.

Untitled, 2023

Screen print on gampi, 22" x 24", Framed

Courtesy of the artist

Having spent most of my life on the East Coast, I am fascinated with fields and grass in the West. A lawn in the suburbs is a class signifier. Astroturf is a blanket. A golf course is a sponge for water in a drought. A rolling green hill of native grasses becomes kindling come fire season. Like many of my recent projects, this piece identifies a familiar material, easy to ignore, but ripe for varied interpretations.

Fulcrum, 2022

Collaged woodcut, metalic foil on museum board, 14 1/2" x 10 1/8"

Courtesy of the artist, Kristen Lorello Gallery

Takuji Hamanaka is an artist and printmaker living in Brooklyn, New York. He was an apprentice in traditional woodcut printmaking in Tokyo, Japan. In recent works he combines printmaking with collage, using extremely thin Japanese paper called "Gampi".

Maury's Words: G, R, Y, B, 2022

Mixed media on paper, 14.5" x 30" x 1", Framed

Courtesy of the artist

Maury's Words is an ongoing series based on written notes found in our home right after purchase. About transience and ephemerality, I see this series as a way to connect to Maury. Reimagining his notes in the same way we are reimagining the home he built.

Invisible Landscape ( Paul, The Community Table, McGee and Oregon), 2022

Archive print on paper, Charcoal, OSB board, 15" x 26", framed

Courtesy of the artist

Ting Ying Han's work investigates cultural identities in evolving communities.

Untitled, 2020

Monotype, 11" x 10", Unframed

Courtesy of the artist

This work is part of my "Template" series of monotypes, using the same template to explore variations in composition and color.

Frida as Lady with Ermine, 2013

Drypoint and woodcut, Paper: 11 x 15", Image: 5.75 x 8", Framed

Courtesy of the artist, Framing Courtesy of Sterling Art Services

Over the past decade, through several print projects, Ellen Heck has explored specific questions about identity-its creation, variability, persistence and change-by combining subject matter and thematically resonant printmaking techniques.

Absence, 2016

Archival pigment print on Hahnemuhle German Etching paper

Print: 4x6"; Frame: 12x12x1.25"

Courtesy of the artist

Absence (2016) from Hall of Reflections series 2001-on-goingBodies, 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. Hall of Reflections is 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.

this will also fade... (iceland route one iii.iv), 2023

Layered gampi cyanotype (unique print), 11.5" x 17.5", Chamfered panel mount

Courtesy of the artist

nif responds to materials, research and the senses, to develop shifting scenes that explore where place and perception meet, and the complexities in the simple act of looking. On a recent trip to Iceland, the landscape was so unfamiliar, surprising, and immense that it was difficult to focus on form and detail. The experience highlighted anthropologist Christopher Tilley's idea that "It is only in a new landscape, or an unfamiliar place, that one has to consciously think about relationships and learn where things are." The mutable nature of cyanotype on layers of translucent gampi provided a new way to explore the fluid and fleeting experience of memory and observation.

Pond Series #12, 1993

Epoxy paint on aluminum, 20" x 26" x 18"

Courtesy of the artist

Tom considers this series of work to be paintings rather than sculptures.

Cluster of Trees After Kenna, 2023

Oil Stick on Paper, 20" x 20"

Courtesy of the artist

A recent image from the Photo Translation series, which is visible on my website.

Starfish Maker, 2020

Acrylic gouche on paper, 23 3/4" x 25 3/4", Framed

Courtesy of the artist

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.

Untitled, 2013

Gouache, 15" x 12", Framed

Courtesy of Friend of KALA

My recent drawing and painting installations create freewheeling narratives: personal stories of suspending gravity, traversing emotional vertigo, and sorting reservoirs of memories. I am fascinated by visual conversations that can occur between images and objects that tangentially relate yet lack a linear retelling. Exploring the gaps between visual perception and modes of representation, and possible interpretation of these objects provides a rich and fertile arena for my art making.

Interstitial (print quartet, 10.2022), 2022

Archival print on Rives BFK, 30" x 22"

Courtesy of the artist

In her current series Interstitial Joyce is exploring, through the in-depth pattern study of historic fishing nets, the existential and metaphoric representation of shadow and space.

Slip, 2018

Acrylic and fabric on canvas, 11" x 14" x 1.5"

Courtesy of Walter Maciel Gallery, Los Angeles, CA

Inspired by geologically dynamic locations in California, I'm interested in natural forces at work, above and below the earth's surface, in ways that continue to shape the landscape. Fusing together my observations, including the physical aspects of my compositions, I manipulate various fabrics and paint, and then recombine these materials with more painted layers to reference natural processes. Painted bands are offset creating fragmented instances, mimicking the kinetic energy of tectonic plates. As with filmstrips that are spliced together, the collision of forms allows for numerous perspectives, capturing varied viewpoints and intertwining multiple moments in time.

Hello From Dotland!!!, 2022

Color Letterpress, 5" x 6.5", Framed

Courtesy of the artist

New Dotland 17 cent stamps! For mailing friendship and love letters only! Created at Kala for Jessica Spring's awesome "Printing By Gum" virtual workshop presented by Partners in Print. Being a part of this workshop was the closest experience I had during the pandemic to attending Penland School of Crafts.

Set in Corvinus Bold, 12 & 14 pt. metal type.

Cloudburst, 2021

Acrylic on paper mounted to panel, 20" x 20" x 1.5"

Courtesy of the artist

This painting is a small example of an ongoing body of work which explores and emotionally maps transitional landscapes.

Crash, 2022

Ink on panel, 16" x 16" x 2", Unframed

Courtesy of the artist and Dolby Chadwick Gallery

My drawings begin from the center, radiating out in a meditative practice of mark making as an illustration of time and process. In this piece, I was thinking about the dissolution of the circle, and the fracturing of time.

Permission, 2021

Letterpress Print, edition 3/30, 8.5" x 5.5", Framed (8" x 10")

Courtesy of the artist

"Permission" is a poem in the form of a letter to myself that I wrote in the summer of 2020 upon arriving at In Cahoots Residency. We were in the heat of both COVID and intense cultural upheaval around the murders of Black Americans by the police, and I was coming off of months of distance learning for my kids, teaching over Zoom myself, generalized fear and helicopters overhead at my Oakland home. Putting myself in the quiet of the studio at that moment felt massively overwhelming, feeling the need to somehow speak to what we were all experiencing, and also take time for myself and my practice. I printed the poem in the Kala studios the following summer, and revisit it often when I am feeling unsure.

Please T, 2018

Screenprint, 14 3/4" x 11", Framed

Courtesy of the artist

In recent years Klein's work has focused on the poetics of loss and remembrance. Harnessing her skills as a stop-motion animator, Sarah Klein infuses her works on paper 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 palpable energy.

Untitled Ripple, 2019

Silkscreen, 22'' x 16'', Unframed

Courtesy of the artist

My work is about work-as medium and subject, a blurring of process and product. I celebrate not just what ends up on the wall, but the tactile labor of creation. My tools, materials and process reveal themselves as the final artwork, visible agents of the labor and material processes. This practice is mimetic, repetitive, exploratory, and necessarily changes depending on the project.
My "ripple" prints are abstract visual expressions of the labor and process employed in their own making. The process of pushing ink through a screen is repeated until the paper itself becomes so saturated it sags and bends. All elements of screen printing - ink, paper, squeegee, screen, labor - are present as both process and product.

Magnolia 7, 2017

Watercolor on paper, 30" x 22"

Courtesy of the artist, Framing Courtesy of Sterling Art Services

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

Vase with Faces, 2020

Stoneware and glaze, 12" x 5" x 5"

Courtesy of the artist

My work manipulates traditional Chinese art objects and symbols as a way to deconstruct the assumptions we have about Asian American identity and cultural authenticity. By creating ceramic based sculptures and large scale installations, I explore what it means to be both Asian and American, while not being entirely accepted as either. Unpacking how experiences of immigration, cultural hybridity, and cultural assimilation become part of the larger American identity is central to my work.

Tulips in California Wildflowers, EV, 2022

Aquatint etching with collage, Paper: 23" x 16", Image: 17.5" x 12"

Courtesy of the artist, Framing Courtesy of Mark Ryan, Fine Art Services

In my current work I have been creating individual etchings of the plants and animals that live near my home in Northern California. In some ways these etchings reference the natural history prints of artist/biologist cataloguers such as Audubon. Instead of editioning my etchings in a traditional way, I have instead been using the etchings as a base to build new landscapes. Where I have been closely paying attention to the shapes and locality of species in my etchings, I have become much looser in the way I collage and color them. I hand cut each plant out of the paper and then reassemble them on panel to create new worlds.

Melancholy, 2015

Oil on Canvas, 20" x 16"

Courtesy of Jeremy Stone

HEAR HERE: community, 2023

Graphic markers, media paper, 12" x 15", Plexi floating frame

Courtesy of Commons Archive-marksearch

Part of series of drawings based on handwritten responses gathered from North Oakland neighbors during events supported by the HEAR HERE Community Billboard Truck. The HEAR/HERE Community Billboard is a custom-built vintage EV truck designed by the Oakland-based creative team 'marksearch'. Equipped with a 6-foot digital screen, sound system and an eye-catching static display board, this art vehicle invites neighbors to listen and learn, gather and share stories, and build trust within communities. Since its launch in Spring 2022, HEAR/HERE has supported over 40 community events in North and North-West Oakland by sharing provocative questions for engagement and showcasing recorded stories and images of the area's vibrant, disappearing Black history. We collaborate with equity-aligned community organizations to support these neighbor-empowering activities. Community engagers gathered over 300 handwritten responses about pressing local issues: 'How should community history be preserved for future generations?'; 'What have you experienced about the displacement of the Black community?'; 'What do you need in your community to feel safe?'; 'What can we do to end homeless crisis in the Bay Area?' and more.
Learn more at www.commonsarchive.net

Here/Hear: Ashland Fir schematic data cloud, 2023

Photopolymer intaglio, polymer plate letterpress, pressure printing, pochoir, 17" x 13" x 1.25", Framed

Courtesy of the artist

Continuing my interest in systems of communication, I have been photographing cell towers disguised as trees. They exemplify our need for the convenience of internet service everywhere, and satisfy our desire for the infrastructure to be hidden. Camouflaged to blend in, they are silent witnesses to our lives. I am thinking about metadata mining and the collection and trading of our personal data. From the analog source I scan the negatives, making photopolymer plates to print an iconic portrait of each tree. In I incorporate letterpress polymer text messages, GPS data, with pressure printing patterns suggesting how our movements and attention are transformed into digital currency.

Illinois, 2020

Photopolymer etching, monotype, 22" x 15", Framed

Courtesy of the artist

"Illinois" is from a series of prints whose ultimate goal is a map for each of the 50 American states. I've begun the series with the places where I have lived, in this case Oak Park, Illinois. Illinois is known for its cornfields but Oak Park is where Frank Lloyd Wright began his career. Layered in the map is an image from his home. One of my goals is to create a merger of map imagery and landscape to explore the relationship of location, memory and the passage of time.

Damn Everything But the Circus, 2016

Acrylic on wood, 24" x 15.5" x 1.5"

Courtesy of the artist

Painting is from a series called Intovert/Extovert , that uses the idea of anthropomorphic imagery to depict the human condition.

Conservatory Carp, 1982

Lithograph, Edition 94/200, 12" x 10", Unframed

Courtesy of Chaset/Dumas Family

Throughout his life, Steve McMillan has been inspired and sustained by the natural world and spends much of his time outside. Whether it's a bike ride in the Bellingham area countryside, or a week-long backpacking trip in the High Sierra, he is renewed and invigorated by being in and moving through landscape. It is this sense of renewal that he seeks to share with others.

Hub, 2022

Japanese paper and brass, 18" x 18" x 9"

Courtesy of the artist

Hub is the first piece in a series of perforated sculptures. I'm very interested in allowing the viewer inside my structures.

Self Portrait, 2016

Archival pigment print, 20" x 24", Unframed

Courtesy of the artist

The work is part of a self-portrait series created by me as a means of exploring discrimination and hyphenated identity, specifically in relation to women and the constraints placed on their bodies and voices within Middle Eastern culture. Through this series, I aim to deconstruct societal roles of power and gender and address broader issues of femininity, discrimination, and identity within this cultural context.

Las Manos de Aztlan, 1989

Woodcut, Image: 17" x 16", Paper: 23" x 17 1/2", Unframed

Courtesy of the artist

Sound of Stone, 2023

Charcoal on silk and wood panel, 11" x 12", Unframed

Courtesy of the artist

Craig Nagasawa's work combines the technical aspects of Japanese/Nihonga.

Data Schema IV, 2023

Letterpress on Somerset, 11" x 15"

Courtesy of the artist

This piece is one of a series of speculative geologic diagrams that describe the physical space of the digital network.

Cloistered, 2022

Risograph print with Copper Leaf, 13" x 17", Framed

Courtesy of the artist

This work is part of an ongoing personal exploration of ways that life has changed over the past 3 years.

SC #416, 2023

Acrylic on canvas, sewn, 14" x 11" x 1"

Courtesy of Jack Fischer Gallery, San Francisco

I make 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 intention is not to make serial work; instead I repeat or elaborate using a loose, invented visual vocabulary of forms, trusting my subconscious to guide these repetitions and elaborations so that the forms evolve into variations. These variations developed into their own distinctive sub-series within this larger, ongoing body of "sewn paintings."
SC #416 falls into a sub-series that I seem to keep coming back to - shapes that are comprised of stripes, sometimes colored, sometimes monochrome.

Bamboo, 2018

Etching on copper, 16" x 16"

Courtesy of the artist, Framing Courtesy of Eric Rose Art Services

Street plants- portrait of the neighborhood.

Plinth, 2022

4-color silkscreen on Stonehenge paper; Edition of 25, 27" x 20", Unframed

Courtesy of the artist and Traywick Contemporary

Steuart Pittman's diaristic paintings are rooted in a modernist abstract vocabulary with a decidedly contemporary twist. Both the titles and the specific forms are inspired by events and moments from his life both inside and out of the studio. The deliberately asymmetric shapes and meticulously crafted frames are a nod to the artist's humorous and loose approach to a seemingly formal practice.

Driftwood with Desktop, 2023

Wood Relief Print, Metal Leaf with Patina, 13" x 13", Unframed

Courtesy of the artist

Recently I have begun to incorporate the printed surfaces of found objects into my practice: metal platters, wood, cardboard...each with a narrative of cuts, scrapes and nicks that hold a rich history of use. Once printed these material records of memory appear brighter, richer and shimmering, the imperfections highlighted.

Sticks, 2021

Acrylic on canvas, 23.5" x 23.5"

Courtesy of the artist

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.

untitled (Time Is Knots On A String 2), 2020

Micaceous watercolor on 300lb Fabriano paper, 30" x 22", Framed

Courtesy of the artist and K. Imperial Fine Art

Time is knots on a string explores the malleability of time. These untitled watercolors use a circular "grid" of 12 sections, reflecting how much of our time is divided into accumulations of 12 increments. The loose lines create an optical rumbling, intended to echo the subjective construction and web we inhabit.

Mouse, 2023

Fabric, thread and wire, 5" x 3" x 7"

Courtesy of Walter Maciel Gallery

I am very interested in dualities in my work. It is important to me that there is something sincere in them, that they communicate a sense of vulnerability as well as contradictory human emotions. They are almost always partially in shambles, barely seeming to hold themselves together, while still communicating a living presence. I am interested in finding a liminal and ripe space that the suggests that the surfaces of the works are both coming together and unraveling, or even decomposing. By creating works that have a mix of off-putting and seductive qualities, I hope to create an emotional response in which the viewer is drawn into the work only to be repelled and then drawn back in. My hope is that the viewers will find something new in themselves through each re-experiencing of the work.

Search for Intelligent Life #8, 2023

Acrylic Ink and Pencil, 11" x 14", Framed

Courtesy of the artist

This series of small works explores the dynamism of shape and the relationship of negative and positive space. Working in a smaller format allowed me to move the pieces around to play with new ideas for compositional elements and ideas for larger pieces. These abstract paintings were initially studies, but now exist in their own right.

Search for Intelligent Life #7, 2023

Acrylic Ink and Pencil, 11" x 14", Framed

Courtesy of the artist

This series of small works explores the dynamism of shape and the relationship of negative and positive space. Working in a smaller format allowed me to move the pieces around to play with new ideas for compositional elements and ideas for larger pieces. These abstract paintings were initially studies, but now exist in their own right.

4 Red Balls, 2021

Brass, steel, bakelite and rhinestone, 11" x 6" x 6"

Courtesy of Jack Fischer Gallery

The whimsical aspect. Rotates by hand.

Periwinsky, 2022

Acrylic on Birch Panel, 8" x 8"

Courtesy of the artist

My recent practice focuses on the colorful, the whimsical and the ambiguous. I enjoy staring at the work in progress and responding to the multiple stories which emerge. I painted this work during a spell of mixing up beautiful blues for ballast against springlight greens--- probably as an antidote to the drought.

Smoke and Mirrors, 2023

Archival pigment print, 15" x 11", Framed (16.75" w x 20.75")

Courtesy of the artist

Leyla presents the principal themes of communication, memory creation, internal ecologies and movement to critique her relationship with imperialism, cultural migration and constructed narrative through research and practice in the contemporary culture of West Asia.

Uplift, 2020

Serigraph on Speckletone French Paper, 18" x 24", Unframed

Courtesy of Taller Sanaa

Jessica Sabogal is a contemporary Colombian American muralistx from San Francisco, and is best known for her stencil, street, and poster art. Sabogal travels the world creating to urgently document and purposefully disrupt spaces that preclude and exclude her larger-than-life murals, often portraying profiles of cuir, Black, Indigenous, and trans women of color, youth, family, herself, and members of her community. Known for her succinct statements such as, "You are not free until all of us are free," "Youth so educated are dangerous," and "Protect our trans daughters," Sabogal works to ensure that her murals and prints are familiar and not foreign to the communities surrounding her monuments. Her work has been commissioned and/or acquired by the National Portrait Gallery, LACMA, Facebook, Google, 20th Century Fox, USC, UCSF, CSU San Marcos, The University of Arizona, and The National Museum of Mexican Art.

Theory 9, 2018

Mixed media collage, 14" x 11", 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 and this piece, which are abstract imagery on 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.

Epilog, 1988

Etching, aquatint and drypoint, 15" x 20", Framed

Courtesy of the artist

This is one of the etchings I made in Virginia between 1983 and 1992. My work at the time incorporated words and fragment of images with bits of childhood memories.

Through the Wall of Time, 2023

Photogram- gelatin silver print, 10" x 8", Framed

Courtesy of the artist

"Through the Wall of Time", a new chapter in my ongoing series, "Beneath My Skin is The History of My Beauty", which looks at the notion of screens that are created to conceal, divide, protect and block. Screens can vary in density from transparent to opaque. How secure or effective are the screens we create? This exploration began when I began to observe the intricate designs inside security envelopes. My work seeks to spark a sense of wonder, inspiration, and imagination in the viewer.

I create Photograms which are photographs made without the use of a camera. I place objects and parts of the human body on the surface of silver-based photographic paper to make black and white prints. The paper is exposed to light emitted from an enlarger to create a shadowy silhouette image.

Boisson Rouge, 2019

Linocut Engraving, 25/30, 15 3/4" x 23 1/2", Unframed

Courtesy of Susan Lake

My medium is linocut engraving and my imagery comes from the fish, plants, animals, architecture and weather of Normandy France, specifically in the old port city of Honfleur. Wine as well as Calvados is of course very popular. The title of this work, Boisson Rouge, is a play on words: Poisson Rouge which is a goldfish and Boisson, which means drink.

Brick Brise Soleil, 2023

Color Aquatint Etching, 19" x 15.75", Framed

Courtesy of the artist

Cloud, 2023

Wool and copper, 17" x 12" x 3"

Courtesy of the artist

This piece is representative of my signature style of weaving. This style was created during a time of loss; the process is based in organic movement and allowed me to move the grief through my body. Creating these pieces has become a form of meditation and connection.

Rama Series 1, 2022

Monotype and mixed media, 24" x 21"

Courtesy of the artist

This is part of my ongoing Rama series based upon a Hindu Vedic meditation practice.

color meditation : rainbows, 2022

Watercolor and embroidery on paper, Paper: 4" x 4", Framed (9.5" x 9.5")

Courtesy of the artist and Walter Maciel Gallery

This is a piece that was created for The Color Meditation Deck, lisa's latest book project. she has added embroidery to the piece to pull it closer to her art practice where she continually uses embroidery, crochet and other "craft" techniques.

Bird, 2022

Oil and panel, 33" x 33"

Courtesy of Transmission Gallery, Oakland, California

Description the painting is very much representative of my work. It is whimsical, somewhat, mostly, but not necessarily. My work is about my experience, and usually about use of imagination, and what comes from my head not typically of the world of normal reality.

butterfly-effect f-1, 2015

Intaglio, Paper: 15" x 11", Framed

Courtesy of the artist

I have long been intrigued and inspired by the concept of a unifying principle and have been creating artworks in which the concept is interpreted through shape, color, and spatial relationships. I create works in which elements function like organic building blocks: atoms form a molecule, molecules form a compound, compounds form a cell, cells form an organism, and so on. The marks, lines, shapes, colors, and textures that are the basic language of my work form a kind of network structure-a system of interconnected nodes that seem energized by their interaction within the network. In the interdependence, synergy, and the flow of meaning and significance within these networks, there is subtle and profound beauty.

I Think, 2022

Acrylic ink & stitched kogin overlay on vellum, 10" x 8", Unframed

Courtesy of the artist

In this series, Interwoven Conversations, Gail experiments with the interplay between stitched fragments on a translucent surface and opaque paper to explore what appears hidden and what is revealed.

Blue Wave, 2022

Powder Coated Steel, 18" x 11" x 9"

Courtesy of the artist

This sculpture is one of a series of pieces that encouraged my shift from large public art installations to smaller, more personal work that emphasized improvisation and expression.

River of fire, island of water, 2023

Handmade pigments on indigo dyed hemp paper, Image: 13 x 8.75", Framed 19 x 14.75"

Courtesy of the artist

Whether it's water or fire that will reach us first, no one knows. As absurd as a river of fire and an island of water may sound, these have been realities lived by those who crossed such rivers of fire and escaped such islands of flood waters. The painting brings the audience to make a note of how the landscape has and continues to change drastically and unpredictably as the planet breaks down further.

En la obrera, 2023

Screen print, Image: 23 1/2" x 15 3/4", Paper: 25 5/8" x 17 3/4"

Courtesy of the artist

Solvent based 5 color screenprint printed in by artist in collaboration with master printmaker Arturo Negrete of 75 grados Taller Grafico in Mexico City .

This Screen print is a edition produced from a photograph taken of an original collage piece from a larger series. The Elements used in the work are iconic Mexican concert posters in neon .This work is especially meaningful as it was produced in the Colonia Obrera Studio where many renowned Mexican artist have gone to work with master printmaker Arturo Negrete and his team .

Untitled, 2023

Etching, 7.5" x 10.25", Framed

Courtesy of the artist

This is one piece in a collection of shared spaces.

SHIFT/BE SHIFTED, 2023

Aquatint Etching, 11" x 14", Framed

Courtesy of the artist

Cianna Valley was born and raised on Maui. She received her BFA in Printmaking from California College of the Arts and currently lives and works in Oakland, California. Her work has been shown across the US and internationally, and resides in various private and public collections including the Library of Congress. Through traditional printmaking, sculpture, and mixed media, she 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.

Abstract V: Flyface, 1979

Color lithograph, 31.25" x 23.5", unframed

Courtesy of Marna Clark

One of the most influential ceramicists of the twentieth century, Peter Voulkos (1924-2002) was celebrated for a radical approach that fundamentally transformed the field. Voulkos explored other media as well, and he developed distinctive bodies of work in painting, bronze sculpture, and prints. This series of prints, created in 1979 and published by Master Editions, captures the immediacy and visceral quality that Voulkos brought to his practice.

Northern Pygmy Owl, 2020

Wood engraving, 12" x 8.125", Unframed

Courtesy of the artist

Northern Pygmy Owl is an engraving from Wagener's fine press book Cascadia published by Nawakum Press and Mixolydian Editions. This book looks at the flora and fauna of the Pacific Northwest.

Juniper and Half Dome, 2016

Wood engraving, 12" x 8.25", Unframed

Courtesy of the artist

Juniper and Half Dome is part of Wagener's Sierra series which takes inspiration from the Sierra Nevada Mountains in California, including Yosemite National Park and Sonora Pass.

The Road is Closed, 2009

Reductive Woodcut with Stencils, 20" x 31", Framed

Courtesy of the artist

Originally conceived as a response to the ferocious 1991 Oakland Hills firestorm, years later The Road is Closed seems more a premonition of worse things to come. Since then the number, size and intensity of nearby wildfires have been even more forbidding. Their impact on the built and natural environments has been deadly; communities, wildlife habitat and forests have been destroyed and the amount of greenhouse gas that feeds global warming is now up. The Road is Closed ponders the effect of wildfire -- the fate of burning trees, the panicked flight of birds, family and friends in its path, along with the loss of order, innocence and beauty in the natural world. In 1991 I believed the local catastrophe somehow offered opportunities for renewal and spiritual understanding. Today - with the increased destruction of earth's lands, atmosphere and waterways by fire, not so much. The road back is sadly closed.

Blooming Mechanical Botanical, 2013

3 copper plates multiple color etching, 30" x 22", Unframed

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.

Nightsong, 2020

Acrylic and pigment on birch panel, 22" x 10" x 3/4"

Courtesy of the artist

I have spent the last 4 years making paintings by pouring pigment onto panels to make abstract shapes.

girl with mask, 2022

Monoprint with handwork, 11" x 11", Unframed

Courtesy of the artist

I did this work at Sonoma Community Center in a workshop I was teaching there.

Communicated Intent, 2016

Etching, 9 3/4" x 11", Framed (13"x16")

Courtesy of the artist

During my years at Kala I have explored the full menu of techniques available. The linear marks and narrative imagery of this piece carries over and into most of my other work.

I Love This Camp, 2014

Polymer and wood type letterpress, 20.75" x 16.5" x 1.5", Framed

Courtesy of the artist and friend of Kala

This piece was initially made for the Queer Print Portfolio exhibited at Adobe Books (and subsequently around the country) as part of the Southern Graphics Council Printmaking Conference in 2014. The portfolio is in the collection of the One Archive, The Zuckerman Museum of Art and University of Iowa Museum.

Hobbyhorse, 2022

Wool, leather, assorted fabric trims, kapok, screenprinting ink, wood, 46" x 12" x 5"

Courtesy of the artist

In my work, I often repurpose fabric from my fashion designer days, and combine these materials with wood, paper, wire, and other salvaged elements that are slashed, stitched, stuffed, and slathered with paint. The results are often meant to be touched, held, worn, rearranged. Hobbyhorse, like many of my sculptures, is an invitation to play. Through the languages of sculpture, fashion, and performance, I'm investigating the everyday presentation of the self, how we shapeshift as we navigate social roles, and the visual cues we choose to signal identity and belonging.

Sea Fire Sky Moon (mugunghwa), 2022

Woodblock print on hanji, V.P. 1/1, 37" x 26"

Courtesy of the artist

The mugunghwa or Hibiscus syriacus, has powerful significance to the people of South Korea as the 'eternal blossom from heaven that never fades'. The word 'mugung' translates as 'infinitude' or 'inexhaustible abundance' and imbues the flower with meanings of a deep devotion and unwavering persistence.

This print, a response to the love sonnets of Pablo Neruda, captures the repetitive and banal present in the quiet act of daily devotion. A single 3" x 4" woodblock hand carved from an original patterned mugunghwa drawing is printed 56 times on one sheet.

Winter of Discontent, 2003

Giclee print, Edition 2/50, 12" x 12", Framed (16.25" x 16.25")

Courtesy of Chaset/Dumas Family

Experimental and painterly, Modern in aesthetic and traditional in theme, Elena Zolotnitsky's portraits and still lifes visualize an imaginative creative process.

Quilt Constellation with Blue Knot, 2023

Acryla Gouache, fabric, glitter, felt, silk cord on paper, 8" x 8", Framed

Courtesy of Pastine Projects, San Francisco; FARM Projects, Wellfleet, MA

My work consists of ornate compositions that use a pattern-based topography to portray ideas about land and our natural world. I often use fabric, glitter, pompoms, glass eyes and more to create images that are simultaneously ordered, in disarray, realistic and abstract. The tapestry-like format is dense, intertwined, sometimes haphazard, and bursting with energy. Seemingly chaotic, the terrain is dynamic, and like our natural world, one hub of activity finds connection and interacts with the next.

It all stems from a personal curiosity about nature, our connection to it, and a fascination with its immense power and beauty. For me, the garden becomes a metaphor for the universe. I strive to immerse the viewer into an image that raises the collective conscious about what is hiding in plain sight in our environment.

I'm interested in micro and macro perspectives to convey the bold and delicate forms that exist in the mysterious realms that surround us. The imagery is meant to transport viewers across abstracted land and sky, illuminating a path to the deep, dark recesses of our universe.

My daily, up-close encounter with nature is the fifty-foot journey through our family garden, from home to studio. I am continually captured by nature's sheer lunatic exuberance-a spectacle of complexity-beautiful, simple, and haphazard.

Las Manos de Aztlan, 1989

Woodcut, Image: 17" x 16", Paper: 23" x 17 1/2", Unframed

Courtesy of the artist

A Week in Paris on Rue St. Honore

Enjoy a week in Paris on Rue St. Honore in the heart of central Paris in a spacious two bedroom apartment. You'll be just 2 blocks from the Louvre and one block from the Metro and the Palais Royal, and in close walking distance to the Opera, Concorde, and Champs Elysees.

Imagine an art-filled romantic getaway or a week with friends and family. Your Paris apartment sleeps five and the adventure of Paris awaits you.

This bright duplex apartment is located on the fifth and sixth floors of a building with an elevator, has two bedrooms, one full bathroom with bathtub, a washing machine/dryer, a fully equipped kitchen, cable tv, high speed internet access, and a terrace overlooking the Rue St. Honore.

In addition to the week, you'll have the opportunity to rent a second week at a bargain price.

Donated by Jim Dumas

The Art of Simple Food signed copy by Alice Waters

An indispensable resource for home cooks from the woman who changed the way Americans think about food.

Perhaps more responsible than anyone for the revolution in the way we eat, cook, and think about food, Alice Waters has "single-handedly chang[ed] the American palate" according to the New York Times. Her simple but inventive dishes focus on a passion for flavor and a reverence for locally produced, seasonal foods.

An eclectic mix of wines from Kala's Board of Directors

Bottles include:

2018, Arnoux & Fils Vieux Clocher Nobles Terrasses Gigondas, France, $35

2013, Mount Eden Vineyards, Pinot Noir, Santa Crus Mountains, CA, $65

2020, Sobon Estate, Zinfandel, Fiddletown, CA, $25

2017, Barolo del Comune di Serralunga d'Alba, Schiavenza, Italy, $45

2020, Donum Winery: Single Vineyard: Pinot Noir - Russian River Valley, CA, $92

2020, Pic Saint Loup Rouge Château La Roque, Red Table Wine, France, $26

2020, Furlani, Bianco Alpino, Italy, $26

2018, Narsai David Estates, Cabernet Sauvignon, Napa Valley, CA, $35

and more!

Please note: This item cannot be shipped. Please p/u wine in the Kala gallery

Donated By Kala Board of Directors

"Through-A-Glass" Brooches by Joan Finton

Joan Finton has been making "Through-A-Glass" brooches for many years, and believe the process to be unique. The image you see is montage of intricately cut papers pressed with glue to the underside of an eyeglass lens, backed with an acrylic modeling paste and finished by sanding and painting.

It is labor-intensive, but creatively enjoyable process, yielding a one-of-a-kind piece. Each brooch is unique; no two are alike. The bits of gold on most brooches will catch the light in surprising ways.

Donated By Joan Finton

Handmade Blue and Yellow 38" x 50" quilt

These handmade quilts are made with love by local artist Mary Guenther

Japanese indigo Shibori 32" x 46" quilt

These handmade quilts are made with love by local artist Mary Guenther

Forest Girls - With The World Always by Sissel Waage

Author signed, hard cover book Forest Girls - With The World Always.

A story of girls - from around the world - and the trees that they befriend, climb, and plant. As they grow, the children restore forests across Latin America, North America, Asia, Africa, Europe, and Australia. Beautifully illustrated with original watercolors by Ana-Maria Cosma, this book inspires young people to make a difference for themselves and our natural world.

Donated By Sissel Waage

The ForestGirls: Innovator's Notebook
By Sissel Waage

A notebook for brainstorming, developing, and refining new ideas that will help people and the planet, while addressing climate change and regenerating natural systems.

Grab a pencil. Explore key innovation opportunities around how we produce food; make products; build; travel and transport things; generate and store energy; speak with, and treat, one another, and engage with natural systems.

Donated By Sissel Waage