Flight.Figure.2, 2022

Vinyl collage with mylar, 12" x 24" x 6"

Courtesy of the artist and Traywick Contemporary

Well-known for a fascination with the expressive possibilities of materials, Benicia Gantner's boundless approach allows her to move fluidly between two and three dimensions with both minimal and exuberant gestures. Gantner's new sculptures explode off the wall, expand out of corners and burst with energetic color and tactility. Her works on paper reverberate from the push and pull of competing influences: organic vs manufactured, analog vs digital and reductive vs cumulative, until a clarity emerges from chaos. While Gantner's hybrid spaces reflect the fraught relationships of contemporary life, she also describes the work as being about "potential, the act of becoming, and the possibility of what lies between."

HANDBOOK: Supporting Queer and Trans Students in Art and Design Education, 2018

Letterpress on Mohawk carnival yellow paper, offset contents, edition of 1200. (out of print), 9" x 6.5" x 1"

Courtesy of Anthea Black and Nick Shick

"Handbook: Supporting Queer and Trans Students in Art and Design Education" is a collaborative intervention in art and design pedagogy. It offers faculty a radical rethink on how to work with queer and transgender students on their path to becoming artists and designers - from the first day of school through to seminars, studio classes, and critiques. HANDBOOK draws directly from student experiences to help faculty of all orientations bring equitable teaching practices and queer curricula into art and design classes.

This 112-page publication is produced in a limited edition of 1200 with a gatefold letterpress cover, printed by Nick Shick, Anthea Black, and Queer Publishing Project, on Vandercook Universal and No. 4 presses, edited by Anthea Black and Shamina Chherawala.

Heart-Like Organ, 2022

Synthetic Polymer pigment, dispersion, felt on canvas, 42" x 42" x 2"

Courtesy of the artist

Having had Open Heart Surgery at the age of twenty, the heart motif has always been a part of my practice. Creating a work that could reference that time in my life but also my current work with sound art, is how I try to create synthesis with this painting. Also, in art historic terms this work is a counter narrative to the George Condo "signature," painting. Instead of representational jewels and clouds this work is blunt, abstract and up front. Like me.

Intermittence No. 18, 2019

Monotype on Hahnemuhle Paper, Paper: 30" x 22", Framed

Courtesy of the artist

My 2018-2019 "Intermittence Series" was developed in the Kala Printmaking studios after a 2018 residency at Edition Basel where I created my first distilled series of monotypes. Stemming from that 2018 "Devolution Series", the "Intermittence Series" follows the concept that fragments of what was once work intermittently in the search to find a better solution. The plates used here stem from the collage work of photographic fragments that came from a whole large scale photograph that were then used to create a series of new work. The extension of these form serves to create the layered shapes in this work to speak to this idea with color, transparency and a nod to liminal spaces.

TSR Hiker, 2021

Acrylic on plywood in painted frame, 10" x 10" x 1.25", Framed

Courtesy of the artist

TSR Hiker is a rare figurative painting from Ferriso's Sea Ranch series. It depicts a wide-brimmed, sunglasses clad individual out for a hike. The reduced forms play with ambiguity and the pastel colors buzz with simultaneous contrast.

Flos 2, 2022

Monotype with gold leaf, 21" x 19.5", Framed

Courtesy of the artist

A lot of my work is quite abstracted and not truly representational of real people or real objects, a story of unknowns which I show through suggestive mark making and graphic elements. The body of work I have produced over the years concentrated on unknown portraits with a focus of the identity being on the adornment rather than the face itself. I love florals and they do appear quite frequently in work so I wanted to experiment with doing something just with florals. I have some old victorian botanical specimen books which I love and these florals are based on these, but they are unknown specimens instead of being actual species. I tend to only work on individual pieces and each monotype is an original unique piece of art.

Not Sorry, 2023

Paper collage, ink and embossing on paper, mounted on wood panel

36x24x2"

Courtesy of the artist

Not Sorry evolved from a dialogue between painting and printmaking. Painting introduced gesture and form, while collage imprinted positive and negative space. The final stage of embossing introduced conversations between thick and thin, transparent, and opaque, soft and hard, light and dark. A geometric form and chance coverage in an unexpected moment.

Brick Drawing #3, 2022

Ink on paper, 42" x 21", Unframed

Courtesy of the artist

This is the drawing version of the structure I build for the installations of my "Exinclusivity" series, a series with songs and performance by immigrants, refugees and day laborers.

Woven African Nest, 2023

Graphite and encaustic on wood panel, 6" x 6" x 1 5/8", Unframed

Courtesy of the artist

Nests are fascinating to me both in their intricacy and their function. My collection of nests (along with sketches from travels and research) provides the inspiration for my Nests series. As I work to extricate small details from these dual sources, the process becomes a meditation on the act of seeing. My work celebrates the inherent beauty of the natural order of things-from the microscopic to the cosmic. In my practice, I explore interconnections in nature such as interspecies communication. I make paintings, drawings, and installations that explore interconnections in nature, and human impact on the natural world. My recent work focuses on declining kelp forests in nearshore ecosystems, the unseen forests of the sea and also the forests of the land. Engaging with materials that are responsive to the elements deepens my connection to each place, as I seek to represent the vast and the infinitesimal as a unified whole in my work.

Burned Joshua Tree, Mojave. 2022., 2022

Silver Gelatin Print, 16" x 20", Framed

Courtesy of the artist

I grew up in northeastern Pennsylvania, less than five miles from the Delaware Water Gap National Recreation Area. This connection to the landscape has deeply influenced my work, which focuses on preserving cultural landscapes through film photography and historic photographic processes. I am drawn to the ephemeral nature of the landscape, and the physicality of seeing time. Themes throughout my work are time (geologic & rapid), fragility, and the human impact/interaction within the landscape. My work is research informed, combining my background in photography and historic preservation to capture the transient landscape.

Invasion IV, 2012

Ink jet and Drypoint, Paper: 27.95" x 37.4", Image: 24.8" x 35", Unframed

Courtesy of the artist

This print is part of my ongoing investigation into the seamless interconnection between the body and the natural environment, and the effects of the ongoing destructive activities of our species on both body and environment. I hope that the works in this series can be read both as a warning and as a celebration of life.

park puzzle, 2019

Inkjet print, silver leaf, and watercolor on paper

11.5x7.5"

Courtesy of the artist

Stories unfold as you walk along a river, on a trail through the woods, or along the streets of a gentrifying city on your way to the subway station. There is a jostling of motion and emotion, looking down, up, and around you. I find myself taking note of what's missing or what's different about a place, noticing the subtle textures and patterns of the spaces I interact and explore on my own or with others. During my stay in Seoul, S. Korea a few years I created a series of photo collages, tapping into a new, and the local environment, where I oftentimes found myself feeling both enchanted and disillusioned, hopeful and skeptical. These collages hold together fragmented experiences, that upon reflection, helped me to connect with new people, places, and things. The process of collaging, like traveling, is a way to negotiate space, understand history and place, as well as to reimagine a future that grounds us.

Packs A Punch, 2023

Charcoal on paper, 12" x 12", Framed

Courtesy of the artist

I make work that looks at consumer culture, commercial imagery, and marketing materials in new contexts. What is our relationship to consumption, how are we motivated by it and how does marketing define our ideas of value?

In my charcoal drawings, I distill common objects down to simple silhouettes. Because the images do not include familiar branding or packaging, they become personal icons, charms, or emblems to everyday life. The fingerprints and smudges happen naturally in the process of making the drawings and personalize these "mass-produced" products.

Sometimes I include straightforward descriptions of the objects or add in text taken from ad-vertisements and marketing slogans. The words add a graphic quality to the drawings but are open to interpretation which further blurs the line between the objects, how they are used and our connections to everyday goods.

Megalopolitan, 2023

Archival giclee print on medium-weight textured cotton rag paper, ed of 350, 30" x 30"

Courtesy of the artist

Kindah Khalidy is an artist and author working in California.

In addition to her namesake line "Kindah Khalidy," she is the founder of the textile-driven brand "Seamripper." She has collaborated with major apparel brands and companies including Vans, Joann, Facebook, Crate and Kids, Gorman, and Nordstroms. She has also partnered with the United Nations and Unicef on other projects.

Spring Lake I, 1988

7 color lithograph, edition of 150, Image: 17" x 25", Paper: 22" x 30", Framed (25 1/2" x 33 1/4" x 2 1/2")

Courtesy of Magnolia Editions

Abstract designs and patterns found in nature can be important elements for me to convey. I utilize photography as a tool to help with greater observation of my subjects. The details aid my attempt to make paintings read equally well from up close as from a distance, no matter the size.

Studio Time: October 2022, 2022

Acrylic, Prismacolor Pencil, Graphite, and collaged elements, 14" x 11" x 1.5"

Courtesy of the artist

Studio Time: October 2022, Acrylic, Prismacolor Pencils, Graphite and collaged elements. With Covid my experience of the passage of time changed into a discontinuous and layered sense of time, rather than the linear systems of time keeping I had used previously. The new work in this series: Painting Time: Moments, organizes images into related groups depicting various moments non-sequentially.

Snowy Departure, 2014

Laser-cut woodblock, 30" x 18", Unframed

Courtesy of the artist

One of my woodblock print series that was an exploration of the movement of the body in space: migration, globalization, transportation and mobility. I employ a transmedia approach to printmaking, combining traditional print media practices with experiments in digitally manipulated imagery and the use of laser cuts.

Lisbon II, 2023

Acrylic on Canvas, 30" x 24" x 1.5"

Courtesy of the artist

Lisbon II is part of the series Sound Drawings

Sound Drawings:
Exhilarating. Exhausting.
A physical and emotional release.
The pace is fast.
The music is loud.
Dancing with a pen in my hand.

Memories of Shell Beach, 2022

Ceramic, wood and paper, 20" x 16" x 2"

Courtesy of the artist

The coast is an ever-changing place of wonder and connection. A grounding place. And best experienced with all of our senses. Memories of Shell Beach is a tactile postcard from the Sonoma Coast, and an invitation to feel what I felt, translated through clay, fire, and repetition.

This work is anchored in my practice through its use of organic materials, physical engagement with the viewer, sensory memory, and a strong connection to land and geographic identity. The clay impressions represented are the positive "prints" made using casts taken at a location I've visited regularly for over 25 years.

Palette Painting #10, 2010

Acrylic on paper, 4.5" x 3"

Courtesy of the artist and Anglim/Trimble Gallery

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.

untitled #4, 2022

Acrylic on linen, 22" x 19" x 1"

Courtesy of the artist

This is a painting from my series 'Solid as Breath" and is about nature/atmosphere and our delicate and precarious relationship to it.

Tchaikovsky Symphony No. 6, Prometheus Orchestra, 2004.06.05

C-Print, 40" x 30", Framed

Courtesy of the artist

Evolution of Light - 5, 1980

Color etching, 22" x 22", Unframed

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.

Graven Image, Delhi, 2002

Painted film with chalk pastel, 9" x 6", Framed (11.75" x 16.25")

Courtesy of Amrita Singhal

I work with the photographic image, doing portraits and urban landscapes. With some of my imagery, I combine the photographic image with paint , pastel and collage. The photographic image is a fixed element, while the paint and collage are mutable.

Altered Daisy, 2020

Mokulito/Polyester Plate Chine Colle on BFK Rives, 47.5" x 26.5" x 1.5", Framed

Courtesy of the artist

Broken imagery, a high-key palette, and lines of ink swiped across the image symbolize the effects of climate change that erode the landscape, warm our waters, significantly alter plants and cause catastrophic weather events. The unrealistic colors appear as a new form of beauty but foreshadow an ominous future. This print was developed by combining the Modern Lithography processes of wood plate Mokulito and Polyester Plates with lithography inks printed on Surface Gampi and then Chine Colle on BFK Rives paper.

Needles, 2021

Graphite on paper, 15.5" x 19.75", Framed

Courtesy of Seager Gray Gallery, Mill Valley, CA

I like to make drawings of shadows cast by sculptures that I make out of wire. This piece is inspired by Red Pine tree needles which I love because they look so much like wire to me.

Adiumentum (Anxiety), 3am, 2023

Found necklace, epoxy resin, one quarter .5mg Clonazepam tablet (generic for Klonopin), hardware, 22" x 1 5/8" x 1 1/4"

Courtesy of Nicelle Beauchene Gallery

Adiumentum is a Latin noun meaning help, assistance, support, means of aid. This work orbits what we've come to count on to help us cope. How will we make it through another day? The artist's personal medication and pharmaceutical debris have been cast in resin and suspended from found necklaces.

Mandorla, 2023

San Francisco Bay salt, mixed media on panel, 8" x 8" x 2", Unframed

Courtesy of the artist

I began working with salt from the San Francisco Bay in 2013 to build a deeper knowledge of the San Francisco Bay Area. Salt illuminated the tides, drought, heat, wetland development, and housing along the Bay, leading me to think about the landscape through both geologic time and much shorter, human-centered processes. Ultimately, because salt is from the ocean, it connects us to the rest of the world and cosmic cycles. Many of the forms in my "Saltworks' series reference imagery of the moon. This artwork is a continuation of my saltworks series, that references intersecting circles, a shape that symbolizes the intersection of spiritual and physical worlds, but also is reminiscent of female forms.

Gasholder, 2010

Monoprint, Paper: 42" x 37", Image: 30" x 30"

Courtesy of the artist

Interested in the peculiar transience of our built environment, the impermanence of which is ostensibly permanent, Robinson's practice emerges from the observation and study of a variety of structures and architectures that frame the contemporary urban experience.

Search for Intelligent Life #4, 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 #1, 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.

Your Child-soul, 2020

Pencil Drawing, 8" x 12", Framed (12" x 16")

Courtesy of the artist

"Your Child-soul" is an imagined portrait that calls our inner life. The tender yet strong, forthright glance looks at you simply and trustfully, inviting the viewers to an intimate interior conversation that everyone has with themselves as soon as they are alone.

Creating an emotional temperature or emotionally potent imagery based on my personal experience and memory is essential to my practice. I reflect and ponder through life as an artist, and through "Your Child-soul," I strive to find the candor and purity of my child-soul and a symbiotic relationship with it.

Rondel in Stripes (Refrain A), 2016

Eight color woodblock print on rives BFK, 32" x 24", Framed

Courtesy of Leah Rosenberg & Sarah Shepard Gallery

Leah Rosenberg's art practice spans painting, installation, sculpture, printmaking and food, focusing on the role of color in our lives, as well as its emotional and psychological impact.

Turtle Cannery Ruins, Punta Lobos, 2023

7 color screenprint, ED/ 12, 20.75" x 14.5"

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 Grafica, 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.

Turtle Release and Frigatebird above Playa las Palmas, 2023

8 color screenprint, ED/14, 20.75" x 14.5"

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 Grafica, 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.

Turtle Release, 2023

Color scratchboard, 9" x 12"

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 Grafica, 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.

Seaturtle Eggs, 2023

Color scratchboard, 9" x 12"

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 Grafica, 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.

Frigatebird, 2023

Color scratchboard, 9" x 12"

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 Grafica, 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.

Cannery Ruins, 2023

Color scratchboard, 9" x 12"

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 Grafica, 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.

Sumpf in Potsdamer Forst, 1930/2018

Photo etching, Image: 4" x 3", Unframed

Courtesy of the artist

This image is a detail and altered image of a photograph that my father took in 1930 while wandering in the forests surrounding Berlin with his hiking club. It is part of my project titled "The Hiking Club: a Vocabulary of Yearning". This project explores the the influence of history on a psyche and the residual feelings of longing that come from the immigrant experience.

Polar 2: Gyres and Shells, 2010

Monotype, image transfers, 24" x 24" x 1", Framed

Courtesy of the artist

The iconic polar bear, for me a symbol of climate change, with 3 ancient (extinct?) shell images from Ernest Haeckle's zoological illustrations, along with some spirals (gyres), symbolic of the both sun and climate change.

Grace Lee Boggs, 2018

Mixed media, 9 3/4" x 10 1/4", Framed (10 1/2" x 11")

Miriam Klein Stahl is a Bay Area artist, educator and activist and the New York Times-bestselling illustrator of Rad American Women A-Z and Rad Women Worldwide. In addition to her work in printmaking, drawing, sculpture, paper-cut and public art, she is also the co-founder of the Arts and Humanities Academy at Berkeley High School where she's taught since 1995. As an artist, she follows in a tradition of making socially relevant work, creating portraits of political activists, misfits, radicals and radical movements. As an educator, she has dedicated her teaching practice to address equity through the lens of the arts.

Bloody Foot, 2004

Monoprint, 9" x 11", Framed (20" x 24")

Louise's paintings document current and fictitious events using myth and allegory. Commenting on the human condition, modern-day romance, feminism, and other political issues, her work has an amazing presence, balancing the colloquial and the sublime. Humor is the catalyst and a bridge to darker, more troubling issues. These themes resonate with the challenges of the current political landscape.

Grisaille Stump XI, 2018

Acrylic, oil on canvas, 15" x 15", Framed

Courtesy of the artist

Abstract II: Ironhead, 1979

Color lithograph, 33" x 22.75", 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.

Abstract VI: Checks in the Mail, 1979

Color lithograph, 34.5" 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.

Abstract VII: Give Us a Break, 1979

Color lithograph, 34.5" 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.

Abstract VIII: I Got the Cobalt Blues, 1979

Color lithograph, 32.5" x 24", 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.

END GRAIN / TRANSFORMED, 2022

Archival pigment print, 17.5" x 15.9", Framed 21" x 19"

Courtesy of Artist and Jessica Silverman Gallery, Framing Courtesy of Sterling Art Services

These still lifes use simple, defined shapes to contemplate the limitless language of form in architecture. The words construct, structure, and anatomy, continue to resonate as I develop these sculptural installations. These elemental shapes serve as basic architectural gestures; foundational pieces constructed to define shape, space, and volume.

Two, 2022

Woodblock Print, 13.5" x 14", Framed

Courtesy of the artist

"Two" is a woodblock print which started as a sumi ink drawing. Both ink drawing and woodblock print have long been a part of my practice, I was taught woodblock by Seong Moy at Columbia University. I utilize woodblock to make multiples and to work with the natural textures and incidents in the wood itself.

Trophy, 2021

Ceramic, 11 1/2" x 10 1/2" x 7 1/2"

Courtesy of the artist

I make context-responsive, multifaceted projects, exhibitions and objects about hierarchy, power and value. With a background in both sculpture and social practice, I create platforms for interaction across hierarchies, representing multiple voices and inventing new ways of belonging.

Currently I am making award forms such as trophies, plaques and medals made of ceramics, textiles and found objects. These investigations appropriate traditional awards with their handmade, oversized, often humorous forms.

Partly Cloudy, 2021

Relief monotype, Image: 21" x 21", Framed (26" x 26")

Printed at In Cahoots Press, frame Colibri Gallery

Courtesy of the artist

This piece is from the Branches series, an ongoing study of layering of light and color through observed and imagined landscape.

Three Figures, 1986

Woodcut, AP, Image: 9" x 12", Paper: 15" x 21", Unframed

Gift of Georgia Finnigan

Roberta Weir founded the Weir Gallery in Berkeley in 1987 and introduced the work of many regional artists, including Jerry Garcia, with whom she created etchings and experimental prints. Her paintings, drawings and prints can be found in collections across the United States.

Roots/Orinda, 2009

Wood engraving, 6" x 12" x 1", Framed

Courtesy of the artist

I have always been influenced by my surroundings and since moving to the Bay Area have focused (as have my dogs) on the trees I walk past everyday.

Untitled, 1982

Monotype on handmade paper, Image: 4.25" x 4.25", Paper: 11" x 11", Unframed

Gift of Georgia Finnigan

Zirker was a renowned and respected innovator and multi-medium artist who worked as a printmaker, papermaker, painter, sculptor, teacher, and poet and inspired thousands of students, collectors, and fellow artists for more than 70 years.

Bladerunner, 2023

Ceramic and paint, 12" x 8" x 3"

Courtesy of the artist

I've worked with engineered ceramic honeycomb for about 13 years. Its an industrial ceramic product I have adapted for its fascinating structure. I have done several large scale outdoor public art projects with the material as well as more intimate works. A part of my practice to to take materials and process typically utilized for function and explore ways to use them in a fine art forum.

Victoria, 2023 (edition of 40)

Linocut, 15" x 11.5"

Courtesy of the artist

Art Kala 2023 VIP Print (value $250)

Pavel's VIP linocut print is inspired by a tale of creativity overcoming adversities. The characters in Pavel's work represent art and creation. There's also a relation with flora who usually thrive through difficult weather or with no care by people, yet provide resources for others. The work is about resistance and resilience.

"I've found this inspiration in printmaking and in different studios such as KALA and others who are a resource for artists and encourage cross-pollination across printmaking communities."

Join Friends of Kala as a patron member or purchase a VIP ticket and receive Pavel's print or buy now for $250!

Las Manos de Aztlan, 1989

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

Courtesy of the artist

Art Collection Tour at the home of Richard Nagler and Sheila Sosnow - Saturday, June 24, 2-4pm

Join Kala's Founding Director and Co-Directors, Archana Horsting, Mayumi Hamanaka, and Ellen Lake on a special tour of Richard Nagler & Sheila Sosnow's art collection, home, and grounds.

Enjoy art and afternoon snacks and refreshments at their beautiful Regency style home (rare for Piedmont) designed by famed architect Frederick Confer and built in 1937. The grounds are beautiful too.

We'll be looking at paintings and multiples by Nathan Oliveira, Wayne Thiebaud, Squeak Carnwath, Naomie Kremer, Richard Diebenkorn, among others. Sculptures include work by Fletcher Benton, Deborah Butterfield, Viola Frey, Manuel Neri, Stephen de Staebler, Richard Shaw, etc.

Richard's primary focus over the years has been collecting fine art photography. There are works on the walls by: Ansel Adams, Berenice Abbott, Robert Frank, Diane Arbus, Walker Evans, Edward Weston, Dorothea Lange, among many, many others.

Donated By Richard Nagler and Sheila Sosnow

"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 28" x 36" quilt - 100% Cotton

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

Handmade multicolored 36" x 42" quilt

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

Forest Girls - With Their Friends and Teachers by Sissel Waage

A global story of girls who learn about forests and their teachers, the Forest Women. The book playfully introduces trees from around the world, as well as what wildlife are saying to us, and how we can help care for our natural environment. It's a lyrical tale with captivating original watercolor illustrations by Ana-Maria Cosma. Readers will gain a sense of nature's connections and opportunities for the future.

Donated By Sissel Waage

Forest Girls - With Their Friends and Teachers by Sissel Waage

Author signed, hard cover book Forest Girls - With Their Friends and Teachers.

A global story of girls who learn about forests and their teachers, the Forest Women. The book playfully introduces trees from around the world, as well as what wildlife are saying to us, and how we can help care for our natural environment. It's a lyrical tale with captivating original watercolor illustrations by . Readers will gain a sense of nature's connections and opportunities for the future.

Donated By Sissel Waage

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 Forest Girls: A Journal, A Journey by Sissel Waage

A forest-inspired journal with writing and sketching prompts to help you: look around, dig in, nourish, energize, reach, stand firm, be resilient, and look forward. Illustrated by Ivana Josipovic

Donated By Sissel Waage

The Forest Women: A Journal, A Journey by Sissel Waage

For young adults and adults, an expanded forest-inspired journal with writing and sketching prompts to help you: look around, dig in, nourish, energize, reach, stand firm, be resilient, and look forward. Illustrated by Ivana Josipovic

Donated By Sissel Waage