We are pleased to present the work of three talented Bay Area artists in our latest exhibit, Wood, Metal & Memory.
Robert Armstrong celebrates the beauty of nature in hand carved, birch wood panel, paintings. Plants, flowers, branches and naturally formed patterns are depicted in tactile silhouette, contrasted by saturated color. Organic patterns, found in the birch wood grain, play quietly in the background. The pieces employ a minimalist aesthetic engaging the eye with rich monochromatic color.
Sawyer Rose’s sculptural pieces and wall hangings are clad in layers of silver solder and copper. Using the texture of the metal as her primary mark-making medium, the liquefied silver morphs into what appears to be bark, feathers, or scales. She creates dimension by placing raised beads of solder on the surface or by soldering cut forms to the main structure. Each piece has a rich patina with burnished high points that catch the light and glow.
Deborah Caperton creates curious assemblage with a combination of found objects and hand fabrications. The found objects are culled from a collection built by years of trolling flea markets, yard sales and saved gifted oddities. The objects chosen speak as metaphors or symbols in an unfolding narrative. When words are employed, they hint at instruction or direction to further engage the viewer in participation and discovery. The work can be humorous and playful as well as melancholic or ironic.
Each artist has shown work in numerous exhibits around the Bay Area and all have shown, with us, in previous gallery exhibits. Sawyer Rose has had two prior solo exhibits. Both Robert Armstrong and Deborah Caperton, who are Bernal Heights residents, have participated in prior group shows. Deborah Caperton is also a jeweler. We’ve proudly shown her evolving line of nature inspired adornment for nearly a decade.
Show Held Over Through April 23rd
Meet Artist Derek Lynch during the closing weekend: April 22, 12-7 pm & April 23, 12-6 pm. View additional works, including several newly completed pieces.
Derek Lynch creates urban-based idealize landscapes in dreamlike circumstances. His work merges the use of digital photography, painting, and architectural forms that focus primarily on San Francisco neighborhoods. The scenes depicted are familiar but slightly skewed by ambiguous relationships and unsettling juxtapositions of geographic locations. The outcome can be whimsical yet offers a serious sociopolitical commentary on the changes to our urban landscape.
Derek was born in Englewood, NJ and currently lives and works in San Francisco. He graduated from the School of Visual Arts in New York City in the early 80’s. He was mentored by artists Frank Owen, John Seery, Francesco Clemente, and Sandro Chia. His work has been featured throughout the Bay Area in prestigious solo and group exhibitions. He is the recipient of numerous grants and awards.
Artist reception: January 28 / 5-7 PM
Though our calendars tell us Spring is March 20th, in other places around the world, there are numerous celebrations and customs that occur, from late January through early February, signifying the end of winter, fertility, prosperity, and longer days. Illuminate brings together the work of ten artists around themes of light and the coming of spring.
Ceramic artists Devorah Canter, Colette Crutcher, Natasha Dikareva, Maile Iwanaga, Shelley Simon and Barbara Vanderbeck have each created multiple works specifically for this show. The sculptural pieces serve as lanterns, candleholders or candelabras. They are both painstakingly hand built as well as wheel thrown, varying widely in size and styles ranging from whimsical, to industrial.
Qire Kiki Ching paints in layers of oil. Imagery, pattern and symbology seem to simultaneously appear and dissolve as we view them. Ivy Jacobsen creates a mystical atmosphere, in layers of oil paint and resin. She balances a sort of magic realism with the natural world. Leslie Lowinger is showing from her series,” Objects to Reduce Anxiety.” The large floral pieces are a combination of etching, embossing, drawing and hand painting. Adele Shaw is painting in both encaustic and acrylic, referring to her pieces as water portraits that are all about atmospheric light.
This show was co curated with San Francisco artist Ann Miller. It was she that sparked the idea that involved the creation of ceramic candelabras, bringing together a number of ceramicist to participate. Thank you Ann.
Anniversary Celebration: December 8 / 6-9 pm
Retrospective 9 features a selection of works by 14 San Francisco fine artists. If you missed an exhibit during the year, this is an excellent time to come take a look at a room full of incredible talent. There are oil paintings by Linda Larson, aquatints and drawing by Sarah Newton, paintings and drawings by Kim Frohsin, drypoint monotypes by Heidi McDowell, oil and mixed media paintings by Catherine Mackey, original collage and prints by Kim Smith, watercolor paintings by Jeffery Roth, photography by Giselle Brewton, mixed media pieces by Pamela Lanza, acrylic and ink painting by Glenn Hirsch, encaustic and mixed media paintings by Jenny Phillips, copper plate etchings by David Avery, and original collage by Mark Faigenbaum.
The display cases are full of your favorite jewelers too: Anna Andersson, Deborah Caperton, Denise Heffernan, Diane Dewey, Eko Wright, Erika Honig, Jenny Windler, Marcy Kentz, Owen McInerney, Raissa Bump, Sakura Haru, Samantha Grisdale, Shelli Markee, Stefanie Wolf, Stephany Hitchcock, Stephen Dove, Suga, Vanessa Mellet, and Jenn Wilson.
As it goes with our annual retrospective shows, we’re having an anniversary celebration. Please join us on December 8th and raise a glass to our 9th year! We’ll have live music with jazz duo Gary Zellerbach & Carl Herder, many of the artists represented in the show will be there, along with gallery friends and neighbors. We look forward to celebrating with you.
Artist Reception: October 20 / 6:30 – 8:30 PM
Once a year Inclusions Gallery curates a group show especially focused on the talented artists who call Bernal Heights home. In this year’s exhibit you’ll find an excellent offering of new and recent works by seven artists: Copper plate etchings by David Avery, Ink and acrylic paintings by Glenn Hirsch, Mixed media works by Pamela Lanza, Oil paintings by Linda Larson, Oil and Mixed media paintings by Catherine Mackey, Encaustic and Mixed media paintings by Jenny Phillips, and Oil paintings by Aaron Zube.
Please come meet the artists during a reception, Thursday October 20th from 6:30-8:30 PM. Light refreshements will be served. The exhibit runs through November 6th.
August 6 – September 10, 2016
Artist reception: August 6 / 5:00 – 7:00 PM
In her latest image series “Light Studies” Giselle Brewton photographs simple random objects that have personal significance for her. To avoid distraction from the essential forms, Brewton shoots in black & white film and removes the object from its environment, further isolating each detail. She then works in shifting the light until only the shapes, shadows and inner workings are visible, capturing a deeper layer that may otherwise go unnoticed. For some objects this element lies in the geometry, for others in the texture.
“This project arose from a need to rescue memories. I was noticing the disappearance of sentimentality for tangible objects. The rarity of current day photo albums, handwritten letters and postcards. A growing lack of attachment to family keepsakes that turn up in dusty flea market boxes. Objects are losing their emotional weight as story telling devices. I wanted to gather them up and bring them back into the light.”
Giselle Brewton is a Northern California based artist, originally landing in San Francisco to attend the San Francisco Art Institute. She works in the medium of photography, film, collage, assemblage and printmaking, rescuing discarded objects and materials, exploring details of texture and form. She is also Co-editor of ‘Bagazine’ an Artist collaboration project exploring the assemblage landscape and modern subculture of Bagism and creative happening. This is her first solo exhibit at Inclusions Gallery.
June 23 – July 24, 2016
Artist Reception: June 23 / 6:00 – 9:00 PM
Jeffery Roth had the great fortune of growing up on the California coast, in the small town of Carmel. Being immersed in such a lush palette had a profound effect on his senses; the language of beauty around him, defined in a myriad of patterns, rhythms and hues.
The body of work he’s created over the last year and a half, is in the medium of watercolor, which is immediate, unforgiving, fragile, honest and above all else requires a deep level of concentration and connection with the ephemeral nature of the moment. Roth searches for those moments when the presence reveals itself, those real moments when one stops and is simply overcome by the beauty presented, by the light between.
Roth received his BFA (illustration/fine arts), Academy of Art University San Francisco, UCSB Film studies program Museum School Boston/Tufts University Film Studies Program. He resides in San Francisco, CA. This is his first exhibit at Inclusions Gallery.
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.”