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.
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.