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.
Downtown Atlantis — a place of submerged forms dimly glimpsed among the floating kelp — represents the wellspring of the artistic impulse.For both artists, the creative process attempts to recapture a feeling both ancient and curiously familiar, a shock of recognition, rather than the invention of something entirely new. Like archaeologists, they engage in exploration, discovery and reconstitution. Artifacts dredged up from below are puzzling and unsatisfying until they are rearranged into a conjunction that seems to echo this lost world. Given our present ecological course, Downtown Atlantis may be our civilization’s future address, so perhaps it warrants a closer look. Hold these works to your ear like a seashell formerly inhabited by a mysterious creature, and listen for the sound of the watery world that is our origin and our destiny.
Natasha Dikareva was born and raised in Kiev, Ukraine and also studied in St. Petersburg, Russia. She came to the US in 1995 receiving her MFA from the University of Minnesota. Her work is known for its surreal, exquisitely formed human figures which often morph into other biological forms.. Dikareva’s latest series developed during an intensely introspective process confronting the idea of physical security. The work reflects a concern with current events and an imagined biological response to a world that has been decimated by industrialization, war and pandemic. New life springs from shells that have survived, offering a sense of optimism and security, a sanctuary from the adverse effects of an over-industrialized world.
Colette Crutcher began her career in the 1980s showing her paintings, drawings and prints in small venues around San Francisco. She broke into public art when she created a mural on private property, in a public location. “La Madre Tonantsin” at 16th Street & Sanchez earned her the Best New Muralist award from Precita Eyes Mural Arts Center in 1992. Since then Colette has created a number of large scale public works, on her own and in collaboration with her husband, artist Mark Roller, also with artist Aileen Barr. Some notable works include The Oceanview Branch Library, Minipark at 24th and York Streets, an 80’ mosaic mural on the 16th Avenue steps, near Moraga Street; and more recently The Hidden Garden steps at 16th Avenue between Kirkham & Lawton. While creating large-scale public works Crutcher continues to draw and paint and construct small wall and table-top pieces, out ceramic and various mixed media. She draws inspiration from the great artistic traditions of many cultures, and from isolated, quirky individuals mining their own psyches for material.
7th Anniversary Celebration: December 4, 2014 / 6-9 pm
Please come raise a glass with us as we celebrate our 7th year!
Retrospective 7 reflects the work of nine artists who showed during 2014. Saywer Rose: Light Boxes and solder paintings on wood, Josie Iselin: Seaweed prints, Quinn Scheibal: Acrylic paintings on reclaimed wood, Kim Smith: Collage, in antique and vintage paper, Aaron Zube: Oil paintings on wood, Sarah M. Newton: Paintings, drawings and aquatints, Peter Arvidson: Oil paintings on wood and canvas, Jenny Phillips: Encaustic paintings on wood and Natasha Juelicher: Cast bronze sculpture.
Artists Reception: November 8 / 5-7 pm
This year marks our 6th annual exhibit dedicated exclusively to art created by Bernal Heights residents. This year’s exhibit features selected works by 30 resident artists. Original works are diverse in subject matter and medium, including: oil, encaustic, acrylic, watercolor, and mixed media paintings, screen-printing, printmaking, linocuts, lithography, letterpress, collage, textile, platinum and silver gelatin photographs, print photography, bronze sculpture, and assemblage. The diversity of the work, as well as the number of pieces on display, 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.
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.