Artist Reception: September 13 / 5-7 pm
Peter Arvidson’s new exhibit of paintings is the culmination of over a year’s worth of work focusing on small paintings. Over the past several years Peter has been working in two related but different styles that he refers to as “colorfields” and “colorscapes” – both styles are featured in this exhibit.
The colorfield paintings are abstract paintings that focus on color and color harmonies. These pieces are painted in loose grids and concentric squares that are often monochromatic with related colors gently introduced and juxtaposed. Some of these paintings evoke horizons and landscapes while others tend toward musical and life rhythms. “Creating these works is a musing process that brings a lot peace while concentrating on the nuances of color and repetitive mark-making. It is the hope that the viewer is also drawn into this contemplation.”
The colorscape paintings share the love of color but are an ongoing series of imagined landscapes influenced by a life near the sea, trips to the countryside and passages from books and novels. These pieces tend toward simple, child-like renderings of patchwork countrysides and seascapes with little houses, rolling hills and dancing trees, recalling more innocent times. The color schemes, however, are complex and born of years of work applying pigments together in harmonic flights of fancy.
Working on small pieces, most of the paintings in the exhibit measure 10″x10″ and 12″x12″, allows the freedom to experiment and take chances. Included are a series of four 3-D “paintings” using Starburst candies which echo Arvidson’s gridded patterns and color sense.
The subject matter of both Aaron Zube and Sarah M Newton’s work is familiar and similar. Each artist depicts their immediate surroundings; Aaron in oils on canvas and panel, Sarah through aquatint etchings, charcoal drawings and gouache paintings.
Aaron is inspired by the distinctive light and techniques of old masters as well as that of tonalist painters. His oil paintings primarily reflect the neighboring streets where he resides. Working from photos and on site sketches, he approaches his canvas in a classical way; underpainting and building up many layers and translucent glazes, creating a luminous, glowing atmosphere.
Sarah’s work focuses primarily on public spaces, city streets, public transit stations and more recently, American landscapes; depicted in series of highway rest stops. Whether working in gouache, aquatint or charcoal, Sarah’s extensive experience in printmaking calls attention to minute detail in each piece, that otherwise might be overlooked.
While their approach and mediums differ, the most compelling commonality in their work is their ability to capture the subtlety of atmospheric light. Whether it’s streaming from above into a dark underground train station, or flooding the side of an old building at daybreak, the quality of light makes us take pause; turning ordinary everyday scenes into a moments of transcendence.
June 7 – July 13, 2014
Artist reception: June 14/ 5-7 pm
Inclusions is hosting a special Studio & Warehouse Sale for San Francisco artist, Kim Smith. The sale will consist of her original collage, a great selection of antique & vintage prints, along with framed reproductions. You’re certain to find something charming at irresistible prices.
Born in America, Kim Smith spent 10 formative childhood years living in Germany. Her work is meant to be intimate and thought provoking, though one sometimes finds a humorous element with the frame. She is strongly influenced by the European museums and flea markets that her parents exposed her to. As a result of living in and traveling extensively throughout Europe, she is greatly influenced by German and Austrian art of the late 19th and early 20th centuries: the Dada, Bauhaus, and Wiener Werkstätte movements, as well as Russian Constructivism. Her Mecca is the Neue Galerie in New York City because of its focus on the art of this period. Smith feels that working with vintage and antique materials brings the authenticity of old Europe to her work and allows her to share the beauty of her early experiences with the viewer.
Smith painstakingly cuts and arranges the elements in her collages before gluing them down. Her studio is a sea of little pieces of paper spread out on tables. Sometimes a collage will be reworked for weeks before any glue is applied. Her meticulously composed and edited work is as much about what is not there, as what is. Although it may look spontaneous, everything present in her compositions is deliberate. She uses antique and vintage materials for her images, but the glues and backing that support the image are archival, so as not to add to the natural aging process.
Smith has earned degrees in Design, Economics and an MBA. After an extensive business career in the garment industry and then investment banking, her desire to balance the duality of her left and right brain inspired her to start her own art process. A business owner since 1998, she splits her time between her art studio at Hunters Point Shipyard and her home office where she is a dealer and manufacturer of vintage and vintage-inspired wall décor. In fact, it was remnants from the business that became her original collage materials.
She loves to spend days exploring galleries and museums and those experiences can have an overwhelming impact, creating a breath-stopping raw energy that makes her want to produce her own work.
Artist Reception: April 26 / 5-7 pm
Primitive, eclectic, narrative and whimsical; these are all words used to describe the art of Quinn Scheibal. His process begins with finding reclaimed wood. He wanders the countryside of Napa, Sonoma and Mendocino counties, in search of old wood from barns and fences to paint on. It all depends on what’s available. He begins to formulate an image while putting the piece together.
Following imagery that has a dream like quality, Quinn seeks to marry the rustic and primitive with the refined and ethereal. The combinations of those elements bring a nostalgic and mysterious feel to the paintings. Working with images and symbols we all share, many layers of paint and varnish are applied, making each painting a deep and textural experience. Common themes of boats, flowers, landscape and portraits, at times become allegorical. More than simple paintings or objects of art, Quinn’s pieces are liken to the stuff of life; companions on one’s journey.
“My greatest hope is that the viewer will find a personal meaning that speaks both to the mind and the heart. This is my attempt to bring harmony and validation to each persons inner mythology.”
Quinn is constantly in creative process. He is a self-taught painter who is influenced by early American folk art, myth, symbolism and storytelling. His personal painting technique comes in part from studying early American faux finishing. Born and raised in San Francisco, he now resides with his wife and two children in Healdsburg, CA.
Artist Reception: March 15 / 5-7 pm
Artist talk & Book Signing:
March 29 / 4-5:30 pm
Josie Iselin is a photographer who has forgone the use of a camera; she instead employs the use of a flatbed scanner to create her stunning images. Her passion for natural treasure, found along the Northern California coastline, is evident in several published books. Majority of images presented in this exhibit are featured in her newly released “An Ocean Garden: The Secret Life of Seaweed.”
Josie’s fascination with Northern California sea vegetation first began 2009. While out on Duxbury Reef, she held a scrap of seaweed up to the sky and was wowed by its brilliant color and strength of form. Later that year she brought home a jumbled wrack and began experimenting with the specimen on her scanner. The resulting portraits reveal the remarkable, largely unseen, organisms in strong form and glorious translucent color. These portraits bring the traditional pressed seaweed specimen, invaluable to scientists and beloved by collectors, into a contemporary format. They provide a nexus where art and the natural world converge.
Josie Iselin is a photographer, writer, and book designer with six previous books to her credit, including Beach Stones, Heart Stones, and Beach: A Book of Treasure. Her seventh book, An Ocean Garden: The Secret Life of Seaweed has just been released by Abrams. She holds a B.A. in Visual and Environmental Studies from Harvard College and an M.F.A from San Francisco State University. Iselin’s large format prints are shown throughout California and Maine. Iselin lives and works in San Francisco, where she walks the beach often.
Artist Reception: January 25/ 5-7 pm
We are pleased to welcome the return of Bay Area mixed media artist Sawyer Rose. In her second solo exhibit, at Inclusions, Sawyer continues her exploration of California native plants with an emphasis on plant life at night.
Sawyer creates her enchanting lightboxes by building up layers in thick architectural glass, specially treated mylar, India ink, copper and solder. She then employes the use of tiny LED lights that give the viewer an impression of glowing fireflies or twinkling stars. Using a soldering iron, much like a paintbrush, she also creates bold graphic textured paintings composed of burnished solder and richly colored oils on wood panel.
As with her last exhibit, Sawyer will be donating 5% of proceeds to the California Native Plant Society from pieces depicting threatened or endangered species.
Retrospective 6, is an overview of all the exhibits held at Inclusions during 2013. If you missed any of this years offerings, this is a great opportunity to view new and revisited works by artists Richard Nyhagen, Jenny Robinson, Jenny Phillips, Carrie Ann Plank, Susan West, Pauline Crowther Scott, John Gruenwald, David Avery, Aaron Zube, Darren Samuelson, Sarah M. Newton and April Hankins.
On Thursday December 5th, please join us for a festive evening as we celebrate our 6th anniversary. Tony Ferrari & Jonathan Sutton of the Hillside Supper Club will be serving up small bites. There will be live music and plenty of cheer to go around. Come and raise a glass with us!
Artist reception: November 3/ 4-6 pm
This year marks our 5th annual exhibit dedicated exclusively to art created by Bernal Heights residents. This year’s exhibit features the work of 25 artists. The original works are diverse in subject matter and medium including: oil, encaustic, acrylic, gouache and mixed media paintings, lithography and metal plate etching prints, platinum and silver gelatin print photography, and collage. The diversity of the work on display and number of pieces make for quite a dynamic show. It’s wonderful opportunity to catch a glimpse of the immense talent and creativity within the Bernal Heights community.
Reception: Saturday September 14 / 5-7 pm
Artist Talk: Thursday October 3 / 7-8 pm
San Francisco artist Richard Nyhagen finds inspiration for his work in the rapidly changing urban environment that surrounds him. The photographic imagery that serves as the basis his work often depicts old, time weathered structures that show a rich history in the degradation of complex surface textures. While very contemporary in presentation his work evokes a strong sense of place and a distinct feeling of nostalgia.
Richard Nyhagen has been living and working in San Francisco since 1987. He received his MFA in Printmaking from San Francisco State University in May, 1995. He has taught screen-printing in San Francisco and Vienna, Austria and currently teaches screen-printing at City College of San Francisco at both the Fort Mason and Phelan Campus’. All images are mixed media using screen-printing on various substrates including wood, aluminum, and plexiglass.
Artist reception: July 27 / 5:00 – 7:00 pm
Artist talk: August 15 / 7:00 – 8:00 pm
In his third solo exhibit, photographer Darren Samuelson expands his focus to include photographs of places outside The Bay Area, using an array of photographic techniques. As in previous shows, Darren is interested in depicting familiar subjects from unfamiliar perspectives and inviting the viewer to experience a different set of responses than might have been. In these images, a decaying train station invites thoughts of once urgent, and long forgotten itineraries. An empty church might spur musings about the activity of its absent congregation: Will they be there Sunday, or did they move on months or decades ago? A railing intrudes on a picturesque view of Niagara Falls– and suddenly the familiar subject invites thoughts about the fragility of human life; people’s awkward, at times humorous engagement with natural beauty; and the creation of a nostalgic icon through a hundred years of postcards, paperweights and snapshots. These images remove people from view, but also suggest the presence of the photographer and the viewer as witnesses and participants.
Samuelson’s interest in antiquated and often challenging photographic techniques dovetails with these themes. He is curious about how the relative ease or difficulty of producing an image can affect how the photographer creates that image. The complexity of his process is what affords him the opportunity to make creative choices in every step toward the final image of a place. In an era of ubiquitous digital photography and digital techniques that often nostalgically mimic film, Darren’s choice to photograph familiar places with hand-built or timeworn equipment and laborious processes results in images that subtly displace the viewer in time and space in order to offer new vantage points.