Join us for our very first opening happening on Vallejo's Gallery Walk night! The Wax exhibition features several nationally recognized artists who work in hot wax (encaustic) and cold wax mediums: Zoe Cohen, Melinda Cootsona, Lisa Kairos, Stephanie LaFortune, Jerry McLaughlin, Susan Najarian, Sara Post, Lisa Pressman, Theresa Stirling
Using mixed media and encaustic (hot wax and varnish), Lisa creates spellbinding lucid dream-like abstractions with a touch of science. She spent over two years "mapping" the San Francisco Bay, by walking around it's perimeter, photographing and drawing what she observed: the colors, the shapes, the stillness. This solo exhibition is the culmination of those years of work, and mark a transition from one project to the next. Join us for our opening reception and meet the artist: Friday, April 14 at 5:00 during Vallejo's Art Walk.
Donald Trump recently declared California "out of control" for openly resisting his regressive, xenophobic and racist agenda. But California has long been known as an outsider to the rest of the country's cultural norms and attitudes. It is the home for progressive values, diversity, and always welcomes the new, the different and the experimental. For centuries, California has attracted the dreamers and adventurers seeking fame, fortune or simply a better life. This group show is all about California from the artist's perspective .... an ode to the ideals, diversity and gorgeous vistas of California. All media welcome for submission. Limit 3 entries per submission. Open to artists in the US, Canada and Mexico. Political work encouraged. Please follow submission guidelines (link above). Deadline: April 07, 2017.
Left: Limited edition print 'Masks of Fear - Jong-un by Heath Kane
"Timeless; luminous; ethereal, enduring" these are all the descriptors of Theresa's work. But it is hard to sum up her layer upon layer of luscious wax and oil pigment in a few words, the work must be experienced in person to truly appreciate. Theresa lives and works in the beautiful Pacific Northwest, deep in the woods with eagles above and the Hood Canal outside her studio window. This rural wooded environment is the foundation of her work which comes through with a quiet and calming solitude in each and every luminous piece. Join us for the opening reception on June 9 @ 5:00.
An exhibition of women painters currently working primarily in abstraction and abstract expressionism.
Something unexpected. A little dark but beautiful, maybe surreal. This show is all about the unusual all around us, seen in a new way. Small group show. Image left by Veronica Mortellaro.
"Informed by her transcultural perspective, she has a captivating palette from which she devises striking combinations and arrangements, coaxing unexpected results from a frugal number of carefully prepared pigments. Ting’s astute choices come not solely from their position on the color wheel, and her inspired teaming of shades sets off the sumptuousness and vibrancy of each — as if seen for the first time. No hue plays a secondary or supportive role, which encourages the visual flux. Rather than look upon gray as neutral or drab, Ting prizes the hue for its resonance with the entire spectrum and lets it holds its own next to maroon or crimson...." —Stephanie Grilli, Ph.D., art historian and independent curator
My paintings start with a lot of colors and a lot of marks. Frequently there are words, numbers, and symbols—recognizable things. But gradually, layer-by-layer, I obscure them. As I build up the painting, I am quieting it down. In the end, though the paintings have complex textures, they are essentially minimalist surfaces in neutral tones.
I choose my materials for the tactile experience I get working with them and for the textures they allow me to create: oil paint, pigments, and solvent—sand, ash, and dirt. A soft beeswax paste holds it all together. I use texture and surface as field.
My work embodies a visual synthesis of stored memory. Personal recollections, both vivid and vague, build and decompose over time. Each painting, with its complex layered surface, elicits a visceral response, reshaping its own new history.