Artist reception: April 30 / 5:00 -7:00 pm
We’re delighted to bring new works together from San Francisco artists Mark Faigenbaum and Kim Smith. Both derive inspiration from the use of antique and vintage ephemera, cutting, ripping, composing, pasting, reshaping what we see; informing and suggesting new, intriguing stories.
Mark Faigenbaum works in mixed media, collage and printmaking. He is drawn to objects that physically reflect the passage of time-decaying newspapers, old books, damaged photographs, outdated technical drawings and discarded machine parts. He combines these assorted materials using layering, repetition and assemblage to create shapes and patterns that move beyond purely physical representation to suggest invisible connections.
Faigenbaum graduated from Michigan State University with a BA in Psychology and Art and also earned a BFA in Graphic Design at the Academy of Art. His work has been shown nationally and internationally. He has been an artist in residence at the Fine Arts Museums of San Francisco and also at Recology. He teaches collage at the San Francisco Center for the Book.
Kim Smith’s work is meant to be intimate and thought provoking, though one sometimes finds a humorous element within the frame. She is strongly influenced by the 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.
Smith painstakingly cuts and arranges the elements in her collages before gluing them down. 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 work are archival, so as not to add to the natural aging process.
Smith has earned degrees in Design, Economics and an MBA. 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.
Artist Reception: March 19 / 5:00 – 7:00 PM
This solo show is an especial, intimate selection of smaller-scale work, spanning a decade; this show reflects only a glimpse into the otherwise vast, eclectic, ever-evolving range of this multidisciplinary visual artist, Kim Frohsin. Over almost three decades, she has, and continues to, mine new and challenging subjects, concepts and themes in her artistic endeavors; her range is rather vast and seemingly limitless.
Inclusions Gallery presents a limited, yet thoughtful array of some of her figurative work, all of which is quite literally drawn directly from her collaboration with live models in the studio. Also, included are samples of what she deems “still lives”, gleaned from her archives. Frohsin, a singular visual “studio artist”, is unerringly authentic to self, an artist who is constantly pushing her own boundaries at will, exploring both deeply personal and universally humanistic themes via her art. She states that all of her chosen media to date—photography, printmaking, collage, painting, drawing — are extremely interdependent and fluid in leading her into whatever comes next in her “gesamtkunstwerk”*.
*A Gesamtkunstwerk (German pronunciation: [gə.ˈzamtˌku̇nstˌveɐ̯k], translated as total work of art, ideal work of art, universal artwork, synthesis of the arts, comprehensive artwork, all-embracing art form or total artwork) is a work of art that makes use of all or many art forms or strives to do so. The term is a German word which has come to be accepted in English as a term in aesthetics.
Artist reception: February 5 / 6-8 pm
Artist talk & Demo: February 25 / 6:30 pm
In a continuing series of striking aquatint etchings Sarah M. Newton further expands on contrasting themes of living in an urban environment. In 16 new prints, depicting BART stations, Newton contemplates the significance of these particular public spaces and how we interact in and with them.
“The constructed public spaces of the transit system can be seen as an embodiment of past civic optimism, although their significance changes through age, use, the way they are maintained or neglected, or are allowed to become obsolete. Writing and publicity from the time of their construction demonstrates a deeply held belief that what benefits some people will benefit all society, while questions as to their current significance and worth are evidence of changing cultural values.”
Using photographs or sketches as initial studies, Newton reinterprets these images as prints. Hand drawn on metal plates, the prints are created slowly, through etching, scraping, burnishing and proofing the plates repeatedly. The attention that goes into the development of the image constitutes a meditation on details and spaces that often don’t receive more than a passing notice.
Rooted in the tradition of landscape painting Heidi McDowell’s work explores our contemporary relationship to the natural world as it is shaped by digital media and car culture. Technology gives us the ability to swiftly collect seemingly endless amounts of data with little incentive to edit. Using the visual language of digital source material as a familiar reference point, she renders scenes plucked from the vast stream of quickly captured images.
Primarily a painter McDowell is relatively new to the field of printmaking. She works in techniques of drypoint, trace monotype and monoprint as a way to “sketch with etching ink.” The behavior of inks, solvents and the transparent colors allow for a fluid and dynamic exploration of the changing light in landscapes.
“I see the process as a complement to my painting practice, at once reducing an image to its essential elements, while at the same time giving me a chance to depict one scene in many different light conditions.”
8th Anniversary Celebration | Artists reception December 10 / 6-9 pm
Retrospective 8 features the works from twelve visual artists who showed during the year. It’s an exciting and eclectic group show, sure to delight. If you’ve missed a show during the year, this is an excellent time to get an overview. On view: ceramic wall pieces and sculptures by Colette Crutcher and Natasha Dikareva, minimal paper mandalas by Wendy Robushi, oil paintings by Robert Schwarzenbach, encaustic/mixed media paintings by Jenny Phillips, etherial oil paintings by Linda Larson, mixed media collage by Mary Southall, colorfield/colorscape oil paintings by Peter Arvidson, fine art nature photography by Sharon Beals, screenprint cityscapes by Richard Nyhagen, mixed media/print college by Carrie Ann Plank and collage from hand designed papers by Rachel Leibman.
Artist reception: Saturday, October 24 / 5-7 pm
We are pleased to present new works by four San Francisco artists Rachel Leibman, Richard Nyhagen, Carrie Ann Plank and Jenny M. Phillips. Each artist is accomplished in their own right, having successfully shown previous work at Inclusions Gallery, throughout the Bay Area, and far beyond.
Rachel Leibman creates meticulously constructed, labor-intensive collage from small bits of paper composed of images of ancient illuminated manuscripts, urban graffiti and hand-designed papers. Her elaborate compositions range from abstract to pictoric, reflecting her fascination with the world’s cultural and natural diversity.
Richard Nyhagen employs the use of original photographic imagery in multi layered screen-prints on hard aluminum surfaces. His work revolves around the vast transitory urban landscape, perception, and the construction of stories we tell ourselves and others; in order to define and know our experience.
Carrie Ann Plank works primarily in the medium of printmaking. In her newest body of work, she combines traditional and new printmaking techniques with painting and collage. The “Strata Series” investigates the use of a one by one inch grid as an underlying information system and is printed, distorted, scaled, and disrupted. Many of the fields are torn, recombined, and collaged with special attention paid to the spaces in-between and the distressed edge.These new forms produce their own unique information system portrayed in a shiny new form.
Jenny Phillips uses paper, wax, watercolor, oil, graphite and other media to explore the interplay between linework, surface, and texture. Influenced by shapes and patterns found in nature, she creates subtle and meditative artworks, focusing on the evocation of mood rather than the depiction of form. She strives for an austere beauty, achieved through the use of a restrained vocabulary.
Artist reception: September 19 / 5-8 pm
We are very pleased to be showcasing select works by San Francisco photographer Sharon Beals. The large scale, unframed, images presented are from her Land and Water series. Beals, an ardent naturalist, captures her subject with an empathetic eye. She is drawn to the wildness at the edge of forests; to their thickets and dense understory. The images are not typical landscape fare but rather striking compositions of ephemeral moments in nature.
“When I am wading rivers or off in a remnant of wild with my camera, the rest of the world recedes and time expands. In what I can only call a hard-won state of grace, I work to frame momentary collisions of light and matter into a visual paragraph of reverence. I may know what’s growing there, what is brought down into a stream, what season is told, but more than anything, I want to say look, this is what matters now.”
Beals’ photographs are in many private and public collections, including the National Academy of Sciences, Washington, D.C.; U.S. Department of State, Office of Art in Embassies, Washington, D.C.; California Academy of Sciences, San Francisco; and the Massachusetts Audubon Society, Lincoln, Massachusetts. She has many published articles and works, including her book,
Nests: Fifty Nests and the Birds that Built Them
Reprise – Oil Paintings by Peter Arvidson
August 8 – September 13, 2015
For several years Peter Arvidson has been working in two related but different styles that he refers to as “colorfields” and “colorscapes.”
The colorfields are abstracts 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 the paintings evoke horizons and landscapes while others tend toward musical and life rhythms. The nuance of color and the patterns created in the repetitive mark making tend to draw the viewer into peaceful 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, 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.
Peter Arvidson is an established painter living and working in Cambridge, Massachusetts. His paintings are collected nationally and internationally in several private and public collections. He has been successfully exhibiting his work with Inclusions Gallery since late 2007.
We’re pleased to bring in summer with the work of two accomplished artists, Linda Larson and Mary Southall.
Originally from Edinburgh Scotland, Linda Larson is a painter that lives and works in San Francisco. Formally educated in both Scotland and the US, Linda is life long artist who has shown in many galleries throughout California and the UK. She uses oil paints and mostly traditional grisaille methods of layering light. She paints on wood, art board and clay board as these rigid surfaces hold light well. Her current series features works that depict transitions and organic material. Fragments from her past that connect with her present work that inspire her everyday observations. Her work is always evolving.
“I choose to paint the little gifts of color and contrast tat catch my attention. The happy distractions of an ordinary day. The ephemera of seasonal transitions, first grass after rain, new lemon, translucence and fragility, a strange light off the sea. I want to grasp the tiny morsels of other-worldiness and calm in a churning day.” – Linda Larson
Mary Southall is a San Francisco artist, originally from Texas. She received her BFA from Texas State University in San Marcos. Mary spent several years in Austin as director of a cooperative gallery. She also founded Acme Art Gallery and Studios before relocating to San Francisco. After taking a hiatus from painting Mary began to experiment with new techniques. She discovered inspiration in a plethora of old family papers and images. By working in collage, paper, image transfer and acrylics, she’s found a new visual depth that was lacking in her previous work.
“Layering paper and images is like layering thoughts and emotions, floating in and out of my consciousness until one central vision prevails. It’s my way of seeking answers to questions and discovering truths about life, death, love and spirit.” – Mary Southall
Artist Reception: April 25 / 5-7 pm
Join us for a conversation with Jenny Phillips: May 14 / 7 pm
Jenny Phillips is a San Francisco based artist. She works primarily in wax, paper, watercolor, oil and other media to explore the interplay between linework, surface, and texture.
“My work centers on feeling, rather than ideology. I am drawn to quietness, subtlety and understatement. I want to evoke the mood and luminosity that costal light and organic form inspire, seeking a balance between simplicity and a rich sensory quality.” – Jenny Phillips
Artist reception: Saturday, March 21, 5:00 – 7:00 pm
In the current show, Circles & Squares, both artists Wendy Robushi and Robert Schwarzenbach, are working with minimal forms. Robushi works circular forms, placed upon square wood panels; Schwarzenbach floats square forms upon or within rectangular canvases.
Wendy Robushi has been working with mandalas, in circular form for several years. In her latest series, composed mostly of cut paper, she has taken the mandala to its simplest form. The mandalas are multilayered, concentric circles or spirals, comprised of of symbols, words, primary colors, or pure white. The pieces, while labor intensive, remain simple. Patterned compositions sometimes rise from the surface, creating textures that capture light and throw shadows in unexpected, delightful ways.
In his latest series of oil paintings Robert Schwarzenbach exemplifies his ongoing fascination and investigation with color as a powerful force in culture, both historically and in modern society. Majority of the paintings are large in scale, composed of multiple, scattered, squares or large, singular, central squares, that float upon and/or emerge from surrounding, built up layers of richly texture oils. While the colors used are often bold and saturated, the pieces evoke a contemplative sense of quiet and calm.