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LYAM 3D, 2009

Color aquatint etching

20" x 27.5"

Kota Ezawa samples imagery from a broad range of sources, including news media, popular cinema, and the history of art, which he then distills into flattened landscapes of pure form. LYAM 3D refigures Alain Resnais's French New Wave film, L'Annee derniere a Marienbad (Last Year at Marienbad), released in 1961. Here, the animated actors are divorced from texture and the camera's presence is replaced by Ezawa's hand, rendering only the essential shapes. Resnais's cinematic masterpiece is stripped clean of any romance or narrative arc, but Ezawa adds the American "oomph of 3D," updating it for a contemporary audience.

Framed by Mark Ryan Fine Art Services

Redemption, from the Interconnected Systems series, 2023

Mixed media dimensional collage

Original digital imagery printed on 100% cotton rag paper, acrylic paint, assorted art papers

13" x 13" x 3"

Framed in a shadow box

When my friend, artist Priscilla Otani, viewed my uncut prints of plant capillary systems, she exclaimed that they looked like meat, flesh, or muscle! I had NOT "seen" that and it took me aback so I pinned them to my studio wall for consideration and regarded them anew as vibrating, pulsing, confrontational beings. Not at all in line with my serene Smith River series or my conscious state of mind, I contemplated what this said about my psyche and how I was reacting to growing global conflict which felt like a meaty, messy, and intractable entanglement. What could I envision as hopeful? I asked myself. Perhaps, a flowering, accompanied by forgiveness, and a sense of healing.

Redemption contains digitally modified original photography of plant capillary systems that are printed on 100% cotton paper at Kala Art Institute. Its center was cut and layered into a blooming structure with a variety of handmade and art papers. The substrate is painted matte black and the "mandala" is floated, ever so slightly, above the substrate.

Courtesy of Abrams Claghorn Gallery, Albany, CA

"Signal Hill", 2024

Textile

27" x 20.5"

Hanging rod on back

The joy of flight; the exaltation of youth; a celebration of a black life that matters.

Courtesy of the Artist

Habibti Cosplaying as Palm, 2023

Glazed stoneware

21" x 8" x 4.5"

Inspired by Mesopotamian votive figurines, they're contemporary interpretations that mesh pop culture, fashion and funk!

Untitled, 1997

Tea bags and wax

8" x 15" x 2"

framed

Visualization, transformation, and presentation

These pieces began in 1997 while my studio was located in West Oakland. It was always cold and I drank endless cups of tea. I started to save them and bring them into my studio.

At this time I was working with alternate materials, objects, things picked up on walks, and dipping them in wax. The wax transformed them. They became another object and allowed me to see them in a new way.

Courtesy of Transmission Gallery

Natural Oron, 2022

Stitched raffia, ink, collage, on mitsumata

8" x 8"

Framed dimensions: 10" x 10" x 0.75"

This piece is from a large series of stitched raffia on mitsumata. Starting with small 7x5" pieces, over years the series evolved to include other sizes, some quite large, as well as pieces mounted on panel or other types of paper. This piece also includes ink and collaged stitching on mulberry paper.

Materialia Lumina Print Portfolio, 2022-23

28 prints from across the globe featuring a variety of printmaking, photography, calligraphy, & handmade paper techniques

13" x 9.25" x 2.5" (closed box - some prints fold out to other dimensions)

Materialia Lumina is the fourth portfolio project produced as a generous collaborative effort in support of The CODEX Foundation's publications program. Twenty-eight international artists have contributed their illuminated works to this assembly/exchange portfolio.

PARTICIPATING ARTISTS:
Denise Bookwalter, Ken Botnick, Sarah Bryant, Julie Chen, Jan & Crispin Elsted, Gwen Harrison & Sue Anderson, Sarah Horowitz, Ellen Knudson, Patricia Lagarde, Clemens-Tobias Lange, Sara Langworthy, Russell Maret, Suzanne Moore, Didier Mutel, Felicia Rice, Francois Righi, Gaylord Schanilec, Veronika Schapers, Leonard Seastone, Robbin Ami Silverberg, Johannes Strugalla, Barbara Tetenbaum, Tricia Treacy, Two Ponds Press & Stephen Hannock, Claire Van Vliet, Till Verclas, Ines von Ketelhodt & Peter Malutzki, & Richard Wagener.

Courtesy of The CODEX Foundation

The Ice House at Mt. Vernon, 2019

Kiln formed glass

11" x 14" x 0.25"

Cheryl Derricotte is a visual artist and her favorite mediums are glass, paper and textiles. Originally from Washington, DC, she lives and makes art in San Francisco, CA. Her art has been featured in the New York Times, The Guardian, The San Francisco Chronicle, MerciSF and the San Francisco Business Times.

From July 17-21, 2024, Cheryl will be a Visiting Artist at the Museum of Glass (MoG) in Tacoma, WA, commensurate with her work in the ground-breaking MoG exhibition, "A Two Way Mirror: Double Consciousness in Contemporary Glass by Black Artists." Prior to MoG, Cheryl served as the Spring 2024 Marva and John Warnock Artist-in-Residence/Visiting Professor at the University of Utah, Department of Art and Art History. She is 2023/2024 Kala Art Institute, Municipal Artist-in-Residence for the City of Berkeley's Climate Equity Pilot Program. In 2022, Cheryl was named Inaugural BIPOC Artist-in-Residence at the Corning Museum of Glass: The Studio.

Cheryl was an inaugural Emerging Artist at the Museum of the African Diaspora in 2015/2016, on the occasion of the Museum's 10th Anniversary. She became known for bringing the images of formerly enslaved people to life through the medium of glass. In 2021, she was awarded the commission to develop a monument to Harriet Tubman at the transit-oriented development Gateway at Millbrae Station, the first sculptural tribute to the abolitionist in glass. Entitled "Freedom's Threshold," the monument was unveiled on March 16, 2023. The work in Kala's auction, "The Ice-House at Mount Vernon," is based on a historic drawing and portrays two people who were enslaved on founding U.S. President George Washington's plantation.

Courtesy of the Artist and re.riddle Gallery, San Francisco, CA

Deer Tracks, 2024

Woodblock edition print

36" x 36"

This work is part of a larger series entitled the 'Meandering' Series that investigates typeface as design elements as it relates to a new series of poems the artist is cultivating. Nicole's practice includes the exploration of woodblock printing, artist books, poetry, and collage as a means to reflect landscape, language and memory.

21.08.17.01, 2021

Watercolor on paper

10" x 10"

Framed

Watercolor has long been the medium of choice for Nicole Phungrasamee Fein. With a meticulous hand and singular focus, Fein challenges the conventional use of watercolor. Luminous veils of color and pattern become fields centered within the square. Droplets intermingle on paper, creating dense composites of color.

Courtesy of the Artist and Hosfelt Gallery

Summer, 2023

watercolor, gouache on paper

9" x 13"

framed

Courtesy of the Artist

Pivot Series, 2023

Graphite drawing with metallic ink, colored pencil

31" x 25" x 2"

Framed

This drawing combines stasis and movement. The detailed graphite drawing with embossed lines and color pencil is contrasted with the spontaneous swipe of two arcs of metallic ink.

Courtesy of Sheila Ghidini

Untitled, 2023

Softground etching, chine colle

11.5" x 11.5"

Framed in a custom hardwood frame with plexiglass

In 2022, I watched the hills catch fire near my adopted home in Crockett California. Since then I have witnessed them evolve from scorched black earth, to bright green spouts, to tall dry grass. And back again. Growing up on the East Coast, I am fascinated with grass in the West, from plastic astroturf to native rye. Although there are tens of thousands of species of grass, like the floor that we walk on, its ubiquity causes invisibility. My recent projects both question and appreciate grass for its perennial adaptability, varied cultural significance and fragility. Etched or in metal through the soft ground process, I'm interested in re-making delicate materials strong, as they truly are. A lawn in the suburbs is a class signifier. A golf course is a sponge for water in drought. A rolling green hill becomes kindling come fire season.

Soledad, 2018

Acrylic paint, ink, and fabric on wood panel

20" x 24" x 2"

ready to hang

Fascinated with hauntingly sublime and sometimes threatening landscapes, my work is a study in environmental transitions. Inspired by geologically dynamic locations, I'm captivated by the effects of weather and the ways light can distort perception. The paintings draw from the natural environment in the West, dramatic, ever-changing geology and diverse weather as catalyst. In my work I process the natural manifestations and surprising juxtapositions I've observed by physically composing and manipulating painted materials. Beginning with painting directly on fabrics the painted areas are dense and saturated while in others the pigments seep, splash and drip. The various fabrics are cut and reassembled, creating striated compositions. These painted fabric bands are offset to produce fragmented forms that mimic the kinetic energy of natural processes. Bringing together congruent and contrasting painted sections, these discontinuous bands suspend and intertwine different moments--the remnants of experiences, separated by time and definition, are fused in layers of paint. The disjunction of forms allows for multiple perspectives at once, simultaneously capturing the seen and unseen, what is above and below ground, what is ahead and what is behind.

Courtesy of Walter Maciel Gallery

Strong Ties #7, 2022

Found wood, house paint

24" x 24" x 1"

"Strong Ties" is an ongoing series of assemblages handmade from discarded wood. Using a simple construction method, pieces of wood are attached and held together with other scrap pieces. A design is created from the functional placement of these connectors. The series intersects minimalism's smooth logic of reductive geometry and color with materials that have organic form, texture and a narrative history. Asking questions about the exploitation and waste that economic systems create, it demonstrates the importance of maintaining a strong solidarity--a care network--to protect ourselves and our authentic human relationships.

Courtesy of the Artist

Cold Spring II, 2020-21

Laser-cut woodblock, monotype and inkjet printing

39" x 22"

"Cold Spring II" is one of 8 pieces from The March of Time (2020-21) series : The work reflects the changes of nature throughout the year one of COVID-19 in increments of time, as observed by my partner and I taking daily neighborhood walks. Each piece was created by laser cut woodblock, inkjet printing and monotype.

Gas Pump, 2002

Acrylic on digital print on canvas

26" x 26" x 2"

This is one of a series of digital prints made at Trillium Press, Brisbane, CA in 2002-2003 (currently known as Electric Works, San Francisco, CA). They were based on vintage handkerchiefs I was collecting and painting juxtaposing images on. In this case, I painted the gas pump onto the print using acrylic paint. These fit into my practice overall in terms of using contrasting images that would not normally be seen together.

Courtesy of the Artist and Anglim/Trimble

Giverny Revisited II, 2016

Oil on mulberry paper

Paper dimensions: 17" x 17"

Image dimensions: 12" x 12"

Signed and numbered on back

This monoprint is from a series of 12 pieces printed at Russell Janis Studio in Brooklyn, NY They accompanied an exhibit titled Summer's Eve NY.

Printed by Janis Stemmerman

Hex, 2022

Japanese paper and brass

14" x 21" x 2.5"

This work was the start of my Buckminster Fuller series.

Location in Unknown Circle, 2017

Archival pigment ink on canvas

35" x 35" x 2"

Yuzo Nakano 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 where he met Archana Horsting and together they founded Kala Art Institute in 1974. His work has been exhibited in commercial and public galleries throughout the world including the Fine Art Museums of San Francisco, where his work is part of the Achenbach Foundation for Graphic Arts. In 2014, he received a Bay Area Visionaries award from Southern Graphics International Conference.

Nakano's life itself is a journey of art. In his statement he describes his experience of traveling the world in the late 1960s and the impact that had on creating an international artist community. He has had a profound influence on future generations of artists and artist communities.

"I attended a large collection of Picasso's etchings exhibited in Tokyo in the late 1960s. The profound beauty in black and white inspired me to make my own etchings. I looked for an artists' etching workshop, but I found none. After searching for months, I learned of Atelier 17 in Paris. In 1970, I left Yokohama for Vladivostok, then rode the Trans-Siberian Railway to Moscow, then went to Paris via Vienna, a journey of languages, peoples, colors, sounds, rhythms, landscapes of emptiness and density, and with enduring influence on my art."

By making his art Nakano pursues three basic human desires: reproducing one's experiences, recording (storing) them, and transmitting them to other people. These three goals animate his life. Through building Kala's community, he and Archana created a space for the artists to share artmaking equipment, exchange ideas, be in dialogue with one another, and experiment with technology, new media, and different techniques. They modeled how to work across disciplines and created a space that to this day nourishes creative power. Nakano's work traverses diverse media, including painting, printmaking, mixed media, music composition, multimedia performance, and digital media.

In Nakano's own words: "my artistic activities physically extend my own abstract concepts of place, a location in space and time. Each work of art provides instantiation, a reproduction of my experience, stored for a moment, for communication to others. Simultaneously, it produces its own unique experiential data that feed back to me, informing and influencing the abstract concepts that guide future works."

Starburst, 2020

Ink on dyed paper

11" x 11"

Framed

My work encompasses a broad palette and wide range of media: from muted to vibrant colors and tones, from pen and ink drawings to paintings, murals, and public installations. Each piece employs intuition and intention to push the limits of minimalism and representation. This work, "Starburst" exemplifies my interest in ways repetition, geometric patterns, and mathematical marking or mapping contain an inherent capacity to evoke represented subjects in the viewer.

Frame courtesy of Atthowe Fine Art Services

Horizon, 2020

Ink on dyed paper

11" x 11"

Framed

My work encompasses a broad palette and wide range of media: from muted to vibrant colors and tones, from pen and ink drawings to paintings, murals, and public installations. Each piece employs intuition and intention to push the limits of minimalism and representation. This work, "Starburst" exemplifies my interest in ways repetition, geometric patterns, and mathematical marking or mapping contain an inherent capacity to evoke represented subjects in the viewer.

Frame courtesy of Atthowe Fine Art Services

untitled (Time is Knots on a String 27), 2021

micaceous watercolor on 300lb Fabriano hot press

30" x 22.5"

Framed

This ongoing series,Time is Knots on a String, is about time, cycles and nuances. The title reflects the evolution of time, charted as a series of moments/ events to the current form and the way that contemporary humans use it. How time is flexible, and ultimately a construct. The 12 sections relate of course to hour, months, astrological signs and cycles, as well as rays stretching out infinitely. At first the lines seem hard and mechanical, but watercolor shows the nuances of the hand, pressure, and saturations. Additional layers of paint and mica in some of these watercolors to reflect further time slippages.

Courtesy of the Artist and K. Imperial Fine Art

Adiumentum (600mg Pain), 2022

Found necklaces, epoxy resin, Ibuprofen 600mg tablets, hardware

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

Nicelle Beauchene Gallery, New York, NY

The Birth of Horus, 2024

Acrylic, flashe, collage, pigmented ink, dental floss on canvas

24" x 20"

Gregory Rick was born in 1981 and grew up in South Minneapolis, Minnesota. He received his BFA from California College of the Arts in 2019 and graduated from Stanford University with an MFA in Art Practice in 2022. Developing a historical imagination and fondness for drawing stories, Rick collapses history while confronting personal trauma. His works exist as reflections of his personal experience, while in dialogue with the wider world. Rick has received the Combat Infantry Badge, the Yamaguchi print making award, the Nathan Oliviera fellowship, and the Jack K. and Gertrude Murphy Award and has exhibited in museums and galleries throughout the United States.

Rick's work comes from my personal experience but is not entirely personal. Where myth gives voice to the underbelly, the lumpen in tandem displaying the familiar and grandiose. His work tethers together seemingly opposing ideas as he teether's between the personal, the historical and the political. He paints on a shaky historical line cemented in humility and conviction and occupies his pictures with characters who serve as archetypes in conjunction memory and self-exploration reflecting on the absurdness and monumentality of history.

Courtesy of Jenkins Johnson Gallery

Memory Index: Black Gathered Silk Mourning Bonnet, 2023

Photopolymer intaglio printed on handmade paper from Oblation Papers in Portland, OR, letterpress

11" x 14"

Framed

The photopolymer intaglio print "Black Gathered Silk Mourning Bonnet" is part of a series of images called Memory Index that capture a migration story through objects that could have belonged to the artist's ancestors. This specific piece imagines a moment following the extended family's initial migration from Kentucky to Chicago in 1866 after the death of the artist's great-great-great grandfather in 1873. I imagine his wife wore a mourning bonnet like this one. Now a free woman living in the North, she was able to always express herself in ways, even through fashion, that she was unable to do in the past. It is printed using bone black ink using an etching process on the artist's handmade paper to permanently mark the memory so this moment in time won't be forgotten again.

Courtesy of the Artist, Trina Michelle Robinson

23.533.507-GWSP, 2007

UltraChrome K3 giclee print on Epson Enhanced Matte paper

Image Dimensions: 23.5" x 33.5"

The Defender, 2023

Photopolymere guavre, photolithography, chine colle

30" x 22"

The Defender, is a part of a series in which Jessica and Shanna explore the importance of work done by queer, trans, and non-binary women of color within their communities that is often invisible and underappreciated. The figure is of Malaya Tuyay, a Filipinx artist, activist, and community organizer. This powerful portrait highlight's Mayala's strength and commitment to supporting indigenous activism in the Philippines through organizing networks in California, as well as her work preserving and studying the traditional Filipino martial artform Kali. The machete she holds was gifted by her own Kali teacher.
The Defender was completed at Pyramid Atlantic Center print studios, during their Denbo Publishing Residency in August 2023.

Petit Bookshelf with Monet Vase, 2021

Hand-cut vinyl on panel

24" x 24" x 2"

framed, ready to hang

Petit Bookshelf is a small version of t.w.five signature hand-cut vinyl larger bookshelves series. The bookshelves are made of colorful books and art objects that are carefully crafted and put together. Some of them are also personally created according to the collectors requests of their favorite books and artists. Each one of them are uniquely created.

Courtesy of the Artist and SB Fine Arts Gallery

Blackboard Series, 2012

Watercolor and ink on paper

Framed dimensions: 16" x 13"

Paper dimensions: 12" x 9"

William T. Wiley was a contemporary American artist. Maintaining an eclectic practice that has been associated with the Funk Art movement, Wiley incorporated drawing, painting, sculpture, performance, and filmmaking into his work. His paintings act as an aggregate and are composed of a wide range of obsessive marks, materials, and mediums, frequently layered on top of a map or other information-coded images. Often featuring illustrations of fantastical universes, his works contain both historical literary references and integrate geometric abstraction. Born in Bedford, IN on October 21, 1937, he earned both his BFA and MFA from the California School of Fine Arts shortly before joining the UC Davis Art faculty in 1963, where he would instruct and influence prominent artists like Bruce Nauman. Wiley enjoyed widespread acclaim and success, participating in both the Venice and Whitney Biennials in 1980 and 1983, respectively. His work is held in many important collections, such as the Art Institute of Chicago, The Museum of Modern Art in New York, and the Smithsonian American Art Museum in Washington, D.C. The 2009-2010 exhibition "What's It All Mean: William T. Wiley in Retrospect," offered a comprehensive retrospective of Wiley's career.

The Use of the Useless, 2024

Recycled weathered redwood, walnut, fluorescent paint

1.5" x 15" x 10"

The work was created by using the scrap wood from my previous project "Treadling a Lost Journey" for which I had constructed wooden wheels using aged redwood from the structural frame of an abandoned greenhouse.

Courtesy of the Artist

Rouge Allure, 2024

Gouache on paper

12" x 12"

Framed

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 idea of value?

The color schemes I use in my work are taken from commercial products where color is used as a tool to captivate the senses and attract consumers. This piece, based on lipstick packaging, uses a red, gold, and black palette in repetitive, lines drawn across the page. The uneven lines show subtle changes in hue, weight and density revealing my own hand movements. The piece uses elements from the world of glamour and beauty to show the allure of natural features and flaws.

Simon's self-dialogue, from the series, Mirrors of Happiness, 2023

Type-C print

11" x 14"

In spring 2021, I joined the re-entry through the arts program at Planting Justice-an urban farm and nursery in Sobrante Park, the easternmost area of Oakland, CA.

Throughout the project, my medium format film camera captured people working in the nursery and surroundings. By the middle of 2023, over 100 film rolls had been exposed, and the resulting images unveiled a tapestry of artistic representation-people and places directly captured throughout the process, cyanotype prints emerging from images, stencil cutouts shaping familiar faces, painted renditions born from those stencils, and moments where individuals encountered their own portraits in wood.

Sphere No. 75-76, 2023

Mixed media

Diptych

Diptych dimensions: 14" x 6" x 3"

Single dimensions: 6" x 6" x 3"

Multi-media concrete sculpture with natural element (moss) in half dome shape. The pieces can be display as sculpture or wall piece.

Patriarchy is Dead (Red), 2023

Beer and watercolor monotype

30" x 22"

I often use satire to address unwelcome societal systems or values that should be retired. This funeral wreath indicates the death of patriarchy, and it's about damn time. I used Guinness beer to prime the plexiglas plate that I watercolored, allowed to dry, and later printed onto damp watercolor paper. Note the limp phallic forms in the center of each flower...

Courtesy of Kathy Aoki

Hombre II, 1976

Oil on canvas

32" x 24"

Framed

Ducmanh, sometimes known as The Duke, was born in Hanoi, Vietnam but moved to Paris as a young man. He worked as a graphic designer whilst painting. Although taken up by the art dealer Rene Drouin, his artistic career took off when he decamped to New York in April 1965. He gained a Rockefeller foundation grant and the Allan Stone Gallery soon accepted and began to show his work. Ducmanh's style mixes the calligraphic and abstract; like other Vietnamese artists in exile he benefited from a greater freedom to experiment than those who remained at home. The Allan Stone Gallery in New York still holds his work and last exhibited Ducmanh in a mixed show in 2004 called "Group". Ducmanh lived in Ireland from 1974-76. He is well known for his irreverent and iconoclastic attitudes as well as for some provocative writing.

At the End of the Updates, 2024

Glazed Ceramic

11" x 18" x 10"

Nathan Lynch was raised in Pasco, Washington an agricultural community in the shadow of Hanford Nuclear Power Plant. The futility of this environmental contradiction gave Lynch an acute sense of location and deep appreciation for irony. In the five formative years after graduation Lynch worked as the prop master for a local community theatre, the effects of which are still being realized in his current body of work. His concerns for political conflict and environmental upheaval are filtered through notions of absurdity, hand fabrication and the dramatic devices of storytelling.

As a sculptor and performance artist, Lynch has made collaboration and experimentation major components of his practice. Recent projects include Doubledrink - a two person drinking fountain for Headlands Center for the Arts, Dead Reckoning at Yerba Buena Center for the Arts, and nest module design for the Wedgetailed Shearwater on Oahu . At the University of Southern California Lynch studied with Ken Price, and later earned an MFA at Mills College with Ron Nagle. Lynch is an Assistant Professor and Chair of the Ceramics Program at California College of the Arts.

Untitled, 2013

Watercolor and ink on paper

13.5" x 17.5"

Framed

Sallie Williams has been a featured Creative Growth artist, exhibiting in a group show at Parklife Gallery in San Francisco co-curated by Stephen Goldblatt.

Founded in 1974, Creative Growth is a leader in the field of arts and disabilities, establishing a model for a creative community guided by the principle that art is fundamental to human expression and that all people are entitled to its tools of communication.

The Creative Growth Studio is home to over 140 artists who work in a variety of media. Facilitated by professional artists, the studio provides artistic support, high quality materials, and space for painting, drawing, ceramics, woodwork, fiber arts, printmaking, and digital media.

Courtesy of Jeff Hill

Untitled (I need you i), 2022

Monotype on paper, oil based ink

8.5" x 11"

My overall practice is based in drawing and collage as a means of making and unmaking self portraiture. This work emerged from a deep meditation on the color midnight blue and nets as reoccurring motifs to think through various social & personal relationships to Blackness and queerness.

Courtesy of nkiruka oparah

Seeing the Mystery, 2024

20" x 20"

Monotype on paper produced exclusively for Kala 50 by Magnolia Editions Paper Makers

Printed by Kala studio artist, Max Valentine under the direction of Squeak Carnwath

Alchemy, 2024

20" x 20"

Monotype on paper produced exclusively for Kala 50 by Magnolia Editions Paper Makers

Printed by Kala studio artist, Max Valentine under the direction of Squeak Carnwath

Make it Pretty, 2024

20" x 20"

Monotype on paper produced exclusively for Kala 50 by Magnolia Editions Paper Makers

Printed by Kala studio artist, Max Valentine under the direction of Squeak Carnwath

pausas envueltas, 2024

Ceramic, copper wire, paper, ink wood, and acrylic paint

6" x 17" x 11"

The line drawing on paper anchors the four sculptural ceramic pieces, positioned on the drawing to create a topographical map of sorts. The copper wire is a continuation of this line drawing, wrapping itself around each piece, connecting and expanding within. The piece is titled in Spanish "pausas envueltas" which means "wrapped pauses". How do we navigate through the landscape, whether physical or emotional?

Early Spring Burst, 2003

Mixed media on paper

43" x 41" x 2"

Framed

FMV $4,000.00

Tanja Softic explores questions of communication, migration, and cultural identity in her paintings and mixed media work on paper. She was born in Sarajevo, Bosnia and later moved to America, spurring an investigation of personal and global belonging within her work. Her abstracted scenes simultaneously partition and overlap each other in a frenzy of web-like lines, creating a visually delicate and emotionally jarring atmosphere.

Softic lives and works in Richmond, VA, where she is a Professor of Art at the University of Richmond. She attended the Academy of Fine Arts of the University of Sarajevo and earned her MFA in Printmaking from Old Dominion University in Norfolk, VA. Her work is held in numerous private and public collections, including the Art Gallery of New South Wales, Sydney, Australia; the Ino-Cho Paper Museum in Kochi, Japan; the Library of Congress, Washington, D.C.; and the Virginia Museum of Fine Arts, Richmond, VA.

Oblong Quilt, 2023

Wire

18" x 15" x 2.5"