Edith Hillinger was born in Berlin, Germany, and spent her formative years in Turkey. She came to the United States as a young adult and now lives in the Bay Area. Edith has a long and illustrious history in the arts. She received a 4-year certificate in painting from the prestigious Cooper Union School in New York, studied textile design at Parsons/The New School, and a BA from NYU. Her grants and awards include first place Viridian Artisats 26th Annual International in 2015, the Ludwig Vogelstein Foundation Award in painting/photography in 2004, and was artist-in-residence, The MacDowell Colony in 1976. She has shown in numerous prestigious group exhibitions nationally, and her most recent solo exhibitions were at Offramp Gallery, Pasadena, CA in 2013, and the Larson Gallery, Minneapolis in 2010. She is currently represented by San Francisco MOMA's Artist Gallery.
Artist Terri Froelich is a Bay Area contemporary abstract painter and photographer. Living and working in Sausalito, her studio is located at the Industrial Center Building (ICB). Photography has been a passion since her youth, however the evolution of digital photography created a void for her in regards to the precision and tactility of film photography. In 2002, Terri started experimenting and “painting” with her photography. Her earlier work was mostly collages of her own photographic images which gradually transformed over time to mixed media paintings with only hints of her photography. Photography remains her preferred way of recording her abstract observations of color, design, textures, lines, shapes and more.
Her paintings have won awards, been exhibited in galleries, juried into art exhibitions and are part of several museums and private collections. The inspiration for her work is found in details discovered during exploration and travel – nature, beach, water, architecture, rust, topography - to name a few of her sources! With a degree in photography, the balance and composition she sees through the lens easily translates to her paintings.
As a child I celebrated coloring outside the lines. Those loose imperfect marks define my gestural painting style to this day. If painting were religion I would be praying to the the saints: Matisse, Diebenkorn and Hockney. With a focus on abstract landscapes and architectural interiors, my art is influenced by the vibrant colors of my Northern California surroundings. Many of my landscapes use what I call an “invented color space” where color is used to break up the composition and achieve a sense of depth and atmosphere that can be open to the interpretation of the viewer.
Born into a family of artists, designers, and architects, my paintings fuse the structural sensibilities of my architect father and the often riotous color sense of my interior designer mother. I studied painting at Trinity College with colorist George Chapman was a student of Joseph Albers and learned the art of defining space with color and value. After 30 years of success in the graphic design field, I decided to get a real job and become a painter.
My work is represented by Studio E Partners in Washington D.C. and has been exhibited at The Room Gallery In Mill Valley as well as the The Fairfax Hotel on Embassy Row in Washington D.C.. My illustrations have appeared in The Wall Street Journal, The New York Times, The Los Angeles Times, The Washington Post and Marin Magazine.
I create art to connect with my true essence. It cuts through the societal programming, expressing itself through me in a joyful way. It allows me to let go of control and surrender to the painting. As a recovering perfectionist I choose to work in mixed media using collage and acrylic because it’s forgiving. I love bold colors, geometric shapes and text which come alive with whimsy on wood panels and paper. I am happiest when I am drawing outside the lines on the canvas and in life.
My work is inspired by my personal growth and transition over the last few years. During this period, I realized that the only limits we face are self-imposed. As we release the limiting beliefs, we open to infinite possibilities. Each piece is an expression of a feeling I am experiencing, an aspect of growth I am facing, or a question I am contemplating during the time I create it.
I am an abstract artist living and working in Winters, California near Davis. I studied painting and printmaking at UCDavis in the 1970s with Wayne Thibeaud and Roland Peterson and returned to my work in 2017. I work in oils on paper and wood panels, in acrylics, collage and most often in mixed media.
Inspired by color, line, shape, texture, mood, music, renaissance paintings, animals, plants and by our dramatically changing world, I react as I go, sensing what the painting wants to be and when it has arrived there. There are few words in this visceral world.
Recently I have studied with Nicholas Wilton, Mark Eanes, Lisa Pressman and Michael Shemchuk.
Painting makes me feel alive. Perhaps seeing this work will amplify your experience too.
I am drawn to the energy around me—the force of a pounding surf, the motion of cars on a highway, the blink of an eye, the way objects in space talk to one another. How one motion affects the next is a continuing source of fascination. I moved to Northern California in my thirties, where I resumed painting after a long hiatus, questioning where I was going with my art. I graduated as a painter from Brandeis University, in Massachusetts, Phi Beta Kappa within 3 years, and began a career in high tech marketing communications in 1976.
I’ve been exhibiting in Northern California since 2002, participating in numerous group and solo shows—including the Marin Museum of Contemporary Art, the San Jose Institute of Contemporary Art and the Sonoma Valley Museum of Art. My work has been seen in Art of Northern California, the Serena & Lily Catalog, Luxe Magazine, as well as Marin Magazine and San Francisco Magazine. I sit on the ICB Art Association’s Board of Directors and am represented by a number of galleries in the Bay Area as well as Boston, MA.
I am a gestural abstract artist, taking my cue from nature. My work is at once personal and universal, like looking out a window and seeing life through my own point of view, but knowing others will have their own unique experience. I am particularly influenced by the colors and energy of nature and the ever-changing environment. Line, color, shape, and movement all invoke feelings, daydreams, longings, and collective memories. In working abstractly the work is never fixed, but dynamic—one can see infinite relationships. Technically my paintings are organic, yet honed: Spontaneity and energy are just as important as deliberation, composition and application of materials. In working large, I realize the reach of my own physicality and fully immerse myself into each work of art. Look closely, but step back too. It is paint after all; but the fact that its application onto a single surface can reach the deepest part of our psyches is nothing short of a miracle and I enjoy being part of that transcendent experience.
My paintings are visual manifestations of an internal journey made external. I begin a painting with a gestural under-drawing and color that resonates with me that day. As the painting evolves, a conversation begins to take place in which each choice informs the next. This discovery process of starting from one thing and evolving into another is exciting to me.
It is a dialogue that is spontaneous and intuitive, and a kind of self-reflection - like looking in the mirror - and a way of finding my own identity as a painter and a person. Through the use of color and gestural mark-making as a means to show energy and movement, my art seeks to inspire feeling, and at the same time is interesting and beautiful.
My art-making process is very meditative and a means of getting out of my own way and losing myself in a journey where the destination is unknown, yet eventually found. It is a practice of self-discipline, letting go of fear and judgment, and the willingness to step outside my comfort zone.
Beth Billups is a studio artist from Detroit, Michigan. Her encaustic and cold wax and oil paintings explore abstraction and express narratives that are at once personal and universal. Her use of familiar imagery, mark making and repetitive patterns balanced by lush color, depth and texture invite the viewer into each piece. Her work is a reflection of her surroundings and a meditation on our connection to the natural world and to each other. She builds layers of meaning by combining ephemera, oil paint and beeswax, rendering modern images in an ancient medium. She currently works and lives in Ann Arbor, Michigan.
I am a fine art photographer and educator born and raised in Brooklyn, New York. I have lived in the San Francisco Bay Area and worked in my Oakland studio for more than twenty-five years. My work has been exhibited in galleries and museums nationally and resides in various corporate and public art collections, including those of the Alameda County Art Commission, Berkeley Civic Arts Center, the San Francisco Arts Commission, the David Brower Center, and the Kala Institute. My work is represented by the San Francisco Museum of Modern Art Artists Gallery, Danielle Wohl Fine Art, SLATE Gallery, and the Kala Institute Art Gallery.
The Swim series is about the vernacular dance and choreography inherent in the everyday experience of swimming. I am looking at the choreography of the body when a person's weight is lifted by the water. Each individual body responds to the freedom of weightlessness in the water environment in a unique way. This is what fascinates me when observing ordinary people in the water. Later, when composing the pieces, I look for patterns of movement and rhythms that speak about how the subjects, who become my “dancers,” relate to each other in the overall choreography of the scene. I construct specific patterns of movement across the space of the photograph. I’m interested in how each dancer’s movements lead into, compliment, contrast, and punctuate the movements of the other.
The works are constructed using the rectilinear picture plane and the grid as a point of departure. Within the confines of this geometric rigidity I look for the organic rhythms of the water and the “dancers” to emerge. I enjoy working within this contradictory space where the unyielding geometric structure attempts to contain the fluidity of the water and the bodies.
I was born in Indonesia and grew up exploring the crowded city of Jakarta, the back woods of Java island, and later the contrastingly fresh air of Seattle. As a minority kid, I was ethnically Chinese and the majority was not. The kids in my neighborhood constantly bullied and made fun of me. That's when I ran to my paintings. Painting helped me cope with the mean-spirited world around me. Now, my art making is a lifelong study in finding my voice.
I received my Bachelor of Fine Arts from Pasadena Art Center College of Design. I now work and live in Seattle, Washington. In addition to numerous private collections in both the United States, Australia, and Asia, my paintings and digital murals can be seen in various locations of the Amazon.com headquarters in Seattle's South Lake Union campus.
My artwork has come from memories of summers spent leaping and diving, doing cannonballs and back flips, participating in breath holding contests and looking up through chlorine filtered sunlight daydreaming. In water, we become weightless, buoyant and free both in mind and body. As a competitive swimmer and Psychologist for most of my life, these are elements I consciously integrate into my work. Using found objects, paint and photographs, I create nostalgic paintings of the past I carry with me into the present.
Leslie Morgan was born and raised in the middle of a Texas desert where the nearest ocean was 600 miles away. As a kid, she dreamed of tropical islands, pirate boats and sea creatures. The public pool served as her primary mode of escape and a therapy for childhood asthma. Diving into the water then was the birth of a lifetime obsession and joy with aquatic experiences. She spent her early professional years in Key West working as a Psychologist in hospitals, jails, nursing homes and clinics. Her free time was spent anchored behind different islands on the boat she called home. Simultaneously, Morgan continued her love for photography and dove into her current profession as an artist leaving the field of Psychology and moved to San Francisco.
She began the journey of transforming this art form into her unique hybrids of painting, photography, recycled rusted bits and collage. Her memories of the waters in the Keys and Northern California serve as undercurrents to the concepts in her work. She explores ideas tied to nostalgia, female icons, boat captaining and the oceans as well as to the environment, preservation, consumerism and re-purpose materials.
I am a project-based artist, working with photography, collage and printmaking in the San Francisco Bay Area and work out of PROJECT 275, a shared studio complex in Redwood City, California. Working with found materials-- including snapshots left to me by family members, microfilm discarded by a library and, most recently, single issues of LIFE Magazine from the 1960s, is the impetus for my work. I find myself attracted to "old data" mostly from the 1960s and 1970s. Collecting and reinterpreting these materials allows me to re-assess the past from a new vantage point, gaining better perspective on our current events.
My work is has been shown throughout the US and abroad and is included in numerous collections, including the Library of Congress Print Collection, the Alexandria Library in Egypt, the Sheffield International Artists’ Book Prize Collection in England, the Siena Art Institute in Italy and the collection of the City of Palo Alto, California.
“I hope to make visible the invisible worlds that move, motivate and guide us as soulful beings. My deepest wish for the work is for it to make the viewer pause, even for the briefest of moments, to reflect on or connect with their deeper selves. To make visible to them something that has only ever been a feeling or a dream.”
Born in Hawaii to a Japanese mother and a military aviator father, Sali's early years were spent living in various US States, Japan and Korea. After attending University in Tokyo she moved to Los Angeles where roots where finally grown. Having moved often in her youth and spending so much time "in between"...in between states, countries, houses, schools and cultures... she has developed a rich and unique inner life. She has created an inner space cultivated by all the differences she has seen. A space suspended between here and there. A space which is the foundation for all of her work.
Sali's full time painting practice began after years as a small business owner. She followed the dream of opening her own little coffee shop and successfully ran two of them before the need for the meditative quiet of a regular studio practice demanded to be heard. There was no refusing the call to create. It has become her meditation, her vehicle and her voice on this spiritual journey. It has made her complete on a deeply soulful level. Her deepest wish for her work is for it to touch the viewer in some way on just such a level…to make the viewer pause, even for the briefest of moments, to reflect on or connect with their deeper selves. To make visible to them something that has only ever been a feeling or a dream.
Sali has found collectors for her work across the US and Internationally.
Originally from Washington, D.C., I lived in Miami, Florida, for over 25 years before moving to Northern California. I have had the privilege to study Renaissance art and painting extensively in Italy and France with such noted artists as Jack Beal, Sondra Freckleton and Fred Wessel, as well as further instruction in painting with other fine instructors such as Daniel Greene.
After moving to California, I began to move away from representational painting. I am now working entirely in an abstract style and primarily in encaustics. Diversity, with all its fascinating choices, intrigues me and is evident throughout my work. My love of variety has led me to study quite a few mediums including oils, pastels, watercolors, acrylics, egg tempera, gold leaf, glass fusing, mixed media collage and encaustic. The ancient mediums, as well as their themes and images, fascinate me and give me an ever-widening option of expressing the world around me and my relationship to it.
I paint because to not paint is unthinkable and encaustics as a medium totally absorbs me. It offers a sumptuous richness of color and an abundance of texture--a subtle variety of surface markings--contrasts of smooth, silky wax and rusted, pitted metal: order and disorder, chaos and plan.
My sculpture and painting have a strong connection, both are concerned with abstract forms that have a human quality and focus on relationships. Thru my work I explore how we relate to one another. My canvases show the physical and emotional space created between people and the tension that interaction causes. The encounter may be brief or perhaps we feel trapped in our meeting and can’t escape. I want the viewer to be conscious of the environment around the forms and question the effect it has on the images I present. My anthropomorphic forms sometimes seem humorous due to odd appendages or surprising colors. Specific body part references or sensual tactile surfaces can invoke a sexual quality to my work.
I decide whether my form is going to stand independently, be dependent or codependent and whether I want my images to stay stationary or be in motion. Line, gesture,materials and colors become metaphors for the delicate elements my interactions generate. I create a permanent manifestation of these experiences and convey their emotional significance and universality.
Louise Victor lives in San Francisco, California, with her husband, the poet,William Cirocco. She is a practicing artist and educator. She has worked in most visual media, including printmaking, photography, installation, encaustic, sculpture and painting. She has had solo shows throughout the US. Her work has been curated by Peter Gordon, Howard Fox, Renny Pritikin, Judy Chicago and with special recognition from Donald Kuspit. Many private and public art collections include her work. Along with her art education, Louise trained as a pilot. She became one of the first women to fly for a major commercial airline and the second woman in the world to become a Captain on the Boeing 767.
Cubes and boxes rotate and fall on a stage. The traces of the paths taken as the cubes and boxes move, linger. Much like a film strip or a flip book, a record remains of the cube’s former position. My work keeps those pathways visible, and as these trails grow, they begin to take on their own forms. Their location changes as well, for a form might at one moment be seen straight up and down, but after a second look, it's leaning on its side.
The connections to everything surrounding this complex of cubes and boxes, change, as when you look at something with one eye and then the other. It moves, in and out, back and forth. This kind of movement and the energy it produces, much like an electric impulse, is what I capture in my work.
I'm most like an abstract expressionist in that my work starts in response to a feeling. The feeling informs my visual direction at which point I start drawing the form that's in my mind. When I've hit on a drawing that feels right, I'll work it until it makes sculptural sense, and then get into my armature and materials asap. I'm a hands on designer so new directions sometimes happen as I go along, but my goal is to always maintain the immediacy and essence of the initial drawing.
I make ' traditional ' sculpture in the sense that it's important to me that it works well in the round. I want to walk around the piece and feel a continuum, so that anywhere I pause the expression is clear.
My building process is dictated by the form and both are continually evolving. I not only design the piece, I design the process to build it.
What inspires me: I just like being outside in California. The natural ruggedness inspires me, the whacky vegetation, the light, the air, the microclimates, and of course the ocean. Dance also inspires me. - The expression as well as the physicality of it. I am currently inspired by underwater life forms, and their movement.
Inspired by the beauty in the world around me, my work explores the relationship between the viewer and the viewed, the phenomenon of what is actually there, and the experience of what we are able to see. And, the role of light within all of this. I find myself influenced by the diverse company of Georgia O’Keefe for her unique expression of seeing, Anselm Kiefer for his unbounded expression of emotion in what he sees, Monet for his exploration of light and its refractions, and Gerhardt Richter for his strident use of materials and exemplary skills. In my landscape work, I am moving past the physical response to what is seen, and moving into the emotional response that is felt. By using color, texture, and form in abstraction, a work is created that can stimulate the viewer into their own personal experience, enabling their own relationship with what they see.
As a painter I act as a witness: I attend to the world through my senses and the eye of my heart and, by the marks of my hand, respond with a record of particular presence. Every stroke and layer carries the history and immediacy of engagement—of artist with subject and material, and between spirit and form. Each encounter of viewer and image adds to the conversation, community, and life of the work.
I draw my subjects from my experience and memory. Some are figures in motion -- physically, psychically, and spiritually. Evoking liminality, they emerge at thresholds, boundaries, or margins. Others are visions of interior spaces: I shift focus, eliminating the boundary of the human form, to explore new layers of reality and the relationship between the microcosm and the macrocosm. Although the subjects are illusions on a surface, they are grounded in the materiality of the medium and evidence of process.
To me, the flesh and gesture of paint on the structure of canvas act to embody feeling. The painting becomes heart and spirit incarnated by matter, a body that ponders the mysteries of communication, connection, and transformation.
Jan is a mid-career artist in Napa Valley who explores both natural and man-made forms while experimenting with a variety of media.
She earned a BA and MFA from California State University in Sacramento, CA, and received teaching certification from the University of California in Berkeley, CA, and Chapman University in Fairfield, CA. With teaching experience spanning over two decades, Jan has taught fine art to elementary as well as high school students both in the private and public sector. She strives to instill an appreciation of art in her students, while helping them find their own creative voices.
Jan’s artwork has been exhibited at the Napa Valley Museum, Sonoma Valley Museum of Art, San Luis Obispo Museum of Art, and Haggin Museum in Stockton, CA, and is included in the collections of Kaiser Permanente and California State University in Sacramento, CA. Exhibiting in juried gallery and museum exhibitions, her artwork has won recognition through numerous awards.
Janine Etherington explores her ongoing fascination with icons, symbols, and letterforms, and the influence of music- especially jazz- on her creative process. Her current works focus on abstraction, using acrylics and mixed media on both canvas and panel. She attended the Alberta College of Art and the Emily Carr College of Art and Design in Vancouver B.C. where she received honors in painting and printmaking. She now lives and paints in Oregon.
Janine’s work is in the public collections of Calgary Heritage Square and West Coast Petroleum Ltd. Calgary, Alberta, and Volunteers in Medicine Clinic, Eugene, Oregon, as well as in private collections in British Columbia, Alberta, Washington, Oregon, California, New York, New Jersey, Australia and Indonesia.
Artist and much sought after teacher Diane Williams is known for her large powerful paintings that incorporate unusual mediums such as rust. Diane has a MFA from John F Kennedy University, Attended China Academy of Art in Hangzou, China, has an MA in studio art from Cal State Sacramento, and a BA in studio art from UCSB. When Diane isn't in her studio or teaching one of her amazing workshops, you'll find her with her grandson or up in the mountains.
"I believe in a creative source greater than myself, self-evident of the world in which my consciousness resides. For me, painting is a delicate dance with this creative force and is the quest in which I discover my own spiritual being embedded in humanity and recorded in the art I make."
California native Chuck has an MFA from John F Kennedy University, is a popular workshop instructor, has had numerous solo exhibitions and is in public and private collections throughout the US.
Skyler McGee is an indirect storyteller. She is ever combining images from her world: plants and animals, buttons and bones, maps and teacups, her children’s drawings. These disparate elements create new relationships and form a disjointed narrative, both familiar and decontextualized. Painterly expression and detailed drawings are placed next to abstract shapes, fields of color, and layered imagery. These images have roots in ecology, fashion, cartography, and anthropology. In other words, they are human: depicting diverse relationships with our earth, each other, our personal and collective history. Her work provides a visual space to explore the experienced complexity of place, its beauty and difficulty. It celebrates and excavates the stories, creatures, locations, homes, and objects through which we create meaning.
Amanda Saint Claire
Amanda’s work is informed by her core belief in the three-dimensional realm of the human spirit- Connectivity, Compassion, and Creativity.
Intensely curious about the world around her and an observer of all– external and internal– no matter how expansive or mundane, grotesque or delicate, or naive or sophisticated, Amanda is not afraid to tackle difficult subjects with bold authenticity, and she has the dedication to stay the course. A natural storyteller, Amanda’s work has been described as “refreshingly brave and unique” by the San Francisco based artist, Nicholas Wilton. Amanda strives to create dynamic tension in her work through the use of color, composition, and layering and her work is a reflection of her journey to be wholehearted and remain forever in childlike wonder.
My work emanates from peripheral glimpses that come from the ‘everyday’; I am deeply affected by my surroundings and have a propensity for mind wandering where my mind drifts from external stimuli towards inner thoughts, fantasies, feelings and other musings. This results in a fascination with both abstract and semi-figurative painting; in my “drawn paintings” reaching for the essence of form, line, light and shadow, and in doing so, attempting to capture a psychological or emotive ‘feeling’ for both place and people.
I completed my Bachelor of Fine Arts in 2015, and have been practicing as a full-time artist since 2011. I am an invited member of an artist collective based in the United States (https://www.opusart.work/). My work is held in private collections in the United Kingdom, Australia and New Zealand.
My studio is based at home, in Devonport, Auckland, New Zealand.
From a small town Oklahoma childhood to big City New York and Hong Kong, traveling frequently on a domestic and global basis from the Pacific NW, my artist’s eye is challenged to render through abstract paintings the awesome vision of places both familiar and new to me. Inspired, invigorated and humbled by the works and by my study of 20th Century abstract expressionists, I aspire to join similar rank through the application of my own bold marks, transparent layers, textures, and strong color combinations…all the while recalling nature’s wonder — the majesty of land, mountain, and seascape.
Tom is an award-winning mixed media artist living and working in the Greater Cincinnati area. Using marks and forms he creates intuitive, layered abstracts rooted in memory and place reflecting the emotions we all experience. His style embraces a “discipline of accident,” using whatever happens on the canvas in the creative process. He often recycles dried paint, peeled and scraped from palettes to use as collage in the paintings.Tom holds a B.S. in English literature and a M.A. in psychology both of which inform his art making. His paintings are in private and corporate collections across the United States.
mira m. white
The most compelling force propelling my images is an unquenchable thirst for recording and expressing personal and cultural transformation. My paintings usually employ recognizable images, and are represented in ambiguous spaces, watery and atmospheric. I search for order and my work process dictates imposing a strong visual structure upon wildly random strokes.
The order I seek often develops into a narrative. My experimentation with images has evolved with an understanding that there is an internal logic linking certain forms with each other, a logic that, perhaps, belongs to the world of archetypes, and definitely forms its own iconography of symbols. The work reflects constant motion and change. It demonstrates an intentional blurring of boundaries between exterior and interior, between the physical and the psychical -this is what sustains my interest and what, for me, continuously opens up future possibilities.
I’m inspired to paint by the richness of everyday life and by the exciting memories of my travels in the past few years. These transforming experiences in Asia, Africa, Europe, Latin America and Southeast Asia have opened my mind and heart as well as the space in my work, leading to airier, brighter compositions with more permeable boundaries.
I create my abstract paintings as much from images in the real world as from my imagination and dreams. For me, painting is a journey inward into wordless and symbolic space. Exploring an internal landscape leads me into mysterious, imagined places or invented terrain that reflect my love of nature. I layer marks, color and texture, following the intriguing shapes and images that materialize until I arrive at unexpected and surprising destinations. I hope that these imaginary environments invite viewers in to have an experience of their own.
Sheila is an abstract expressionist painter based in Poway, California. Her mixed media pieces sometimes explore ancient mythological prototypes that resonate through history. "Sheila brings an unexpected power and dynamism to the canvas. Her large, bold brush work, along with her wild and free-use of color and gestural marks harkens back to the mid-century greats." —Ashton Gallery
Jiela Rufeh was born in Boston, Massachusetts of German and Persian descent. She grew up in the small colonial town of Concord, encompassed by a rich cultural and literary history. Rufeh’s education and professional life have taken her across the country from DC, New York, and Boston to San Diego where she currently lives and works. She first attended American University as a Communications major but transferred to University of Syracuse to study Photography and Sculpture. She then went on to do post graduate work at the International Center of Photography in New York, and then to the prestigious Brooks Institute of Photography. After working in commercial photography, she has been exhibited nationally for over a decade with multiple solo exhibitions in Berlin, and showing at the Oceanside Museum of Art and the California Center for the Arts.
Creating in the moment, inviting newness, not discounting the past; all enrich the dance of creation as it transverses one level of consciousness into another. It's a joy to discover and a pleasure to be able to acknowledge the moment of unification. The need for personal transformation is a thread that runs through my entire body of work. It attempts to synthesize my thinking and feeling with my spirit, including those half formed thoughts and sensations that want to remain illusive. I attempt to allow my full range of emotion not just the pretty side of life. The goal is to discover anew who I am today. I use both my visual art and my writing as a kind of tuning fork to help me reveal and examine those elements that bring chaos into my life and to transcend the confines I have been given.
R.B. Kitaj defined a diasporist artist as someone who lives and paints in two societies at the same time. The unsettled nature of a diasporist's existence is an important source of inspiration for my art. For the immigrant, the ocean no longer establishes a definitive barrier. The internet, for instance, enables a constant partial exposure to people and places from the past. Memory and imagination are both fed and interrupted by this, and accounting for one’s origins and place can be more problematic than ever. These works respond to this condition.
Being an artist is not only about creating but also about how one feels, sees and interacts with life in a more humane and ethical way. I can’t imagine what it would be like not to create. The joy, angst, excitement, humor, curiosity, fear, laughter, passion, confusion and wisdom I've experienced, has allowed me to live a far richer life. Nature plays a fundamental role in the work that I do. The relationship between color, movement and texture and the constant interplay between them is the primary inspiration of my work. Whether it's the sky after a thunderstorm in New Mexico, a sunset overlooking the Golden Gate Bridge or the smell of eucalyptus on a hot summers day, it's always telling a story. Nature never lies, it's up to the artist to take those truths and interpret them in an honest and profound way.
I knew at an early age, art would be a part of my life. My grandmother was an American Impressionist painter, and I would watch her create colorful brush strokes across the canvas. I grew up traveling the world and living in faraway lands with my family. I visited museums across the world, and soaked in images of the landscapes I was fortunate enough to travel.
My art developed out of these experiences, with an eye towards texture and abstraction. My paintings have a minimal and literal landscape element, while I try to capture and convey the textures of life. The experience of painting is a great escape from the complexities of life, and I always find myself creating an abstract scene of peacefulness, relaxation, and calmness. . I’m drawn to water, the sea, the ocean, and these feelings show up in my abstract landscapes.
charles a kacin
My work starts with the vision of a slice of time or the emotive quality of a moment. I build up layers of pigments: scribe, scribble, scrape back, and texture my work, allowing each piece to reveal its own story and emerge from the voice of the paint itself. The work focuses on the transitory nature of time and memory as they relate to my everyday life.
I incorporate the Zen sensibility of Wabi-sabi, highlighting the impermanence and imperfection of beauty as exemplified in nature and the passage of time. There is a collaboration between me and the materials used: building, adding more and more elements, and then stepping back to reduce the work to its purest form. Viewers are taken on a journey and construct their own reality in each work.
I leave my emotions on the canvas, captured in paint.