Jen Stark: New Public Sculpture

Jen Stark’s art is driven by her interest in conceptualizing visual systems to simulate plant growth, evolution, infinity, fractals, mimetic topographies, and sacred geometries. Using available materials—paper, wood, metal, paint—Stark strives to make work that balances on a razor’s edge of optical seduction and perceptual engagement. 

The resulting works often resemble organic, molecular, cloud-like structures, and are imbued with kinetic, undulating effects that serve to dislocate the viewer from staid reality into an immersive ecosphere of echoing patterns and the implausible designs found in nature. Even her vivid colors are in direct conversation with the natural world; the attractant/repellent properties of flowers encouraging pollination or insects warning birds of their poisonous traits, and the luminous mystery of phosphorescent sea creatures are among Stark’s concerns.

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Sarah Anne Johnson "Rosy Fingered Dawn"

Like the goddess of daybreak in Homer’s Odyssey, Sarah Anne Johnson’s new landscapes recur with beauty and wonder, in a multitude of guises. In her eighth solo show at this gallery, she is taking a more general approach, not limiting herself to a specific place or distinct history. She’s focusing on photographic tropes- landscape scenes from a variety of places that depict sublime natural beauty. But as always, the artist is concerned with the loop between photographic object and “reality.” She poses serious questions, and answers with seductive playfulness. Once again she is trying to bridge that space through the psychology of place, and the dividing line between what is real and what is felt- a quality that remains a balancing act in all of her projects.

Johnson has added materials that undermine the seriousness of these scenes, and with humor she mocks our traditional sense of beauty and high art. Relief elements such as cotton balls artificial flowers and heavily applied epoxy, holographic tape, the use of photoshop and spray paint, all of these interventions gently push us to question our complicated relationship to nature and photography. How are photographs connected to reality, and how is that connection changing? How can we idealize nature with the knowledge of our globally threatened environment?

Instead of trying to harmoniously fuse the real and ideal, she plays with their parallel lives by forcing together contradictions- high and low, two and three D, sincerity and mockery. She provokes delight and suspicion. The emotional push and pull implicates the viewer in contrast to the distance of cool criticality.

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Kai & Sunny "Twists & Turns"

This new body of work by the UK-based duo showcases their uniquely distinguishable compositions of archival ballpoint pen on paper, as well as acrylic paintings on primed aluminum panel.

Twists & Turns is comprised of two narratives; fluid deconstructed landscapes representing a calm isolation through reflection and contemplation, and hard-edged geometrics exuding energy and optimism. These parallel concepts are characterized by the duo’s hallmark precision line work, a slow methodic process of building individual thin lines upon each other creating tense kinetic compositions while a certain fragility remains. The works explores the relationship between color, shape and illusion. How the thin lines can change your perception of the shape ’twisting and turning’ you confusing the foreground and background and inviting you to float in-between the two. The tidal-like waves and intense sunbursts hint at environmental uncertainty but always hopeful of a brighter future through change.

 

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Emil Lukas "Twin Orbit"

Emil Lukas’ exquisitely strange and phenomenological objects are meditations on the way we perceive the world. “We’re affected by lots of things that are larger than us — things we don’t normally know how to see — for example the laws of physics,” says Lukas. “I’m attempting to make the invisible, visible.”

Labor-intensive and experimental, playful and poetic, surprising and delightful, Lukas’ sculptures and sculptural paintings grow out of investigations into gravity, perspective, mathematics, color theory and the properties of light.

Round “paintings” — actually parabolic bowls with tens of thousands of colored threads stretched across — manipulate our sense of space and definition of color. Chunky, plaster works composed of honeycombs of multi-colored pixels create optically vibrating fields, their convex surfaces disrupting our perception of depth. And the centerpiece of the exhibition, a monumental, pixilated, aluminum lens, both restricts and restructures our line of sight.

This exhibition is an examination of seeing, where optics — the study of sight and the behavior of light — is a metaphor for the human ability to derive insight from abstract concepts. “We have two eyes and they are set into our heads in a way that determines our reality — our perspective. Those notions of the way the world exists are what I’m trying to upend.”

Emil Lukas was born in Pittsburgh, PA. He has exhibited extensively internationally and has been collected by, among many others, the San Francisco Museum of Modern Art and the Anderson Collection. Lukas has been represented by Hosfelt Gallery since 2006. This is our sixth solo exhibition together.

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David Cooley "Tempus Vincit Omnia"

David Cooley is a self taught artist who has been creating art and general nonsense since he was a youngster. The evolution of David’s work is a result of ongoing experimentation with different techniques and mediums such as acrylic, resin and fabric which has lead his work to become dimensional and highly textural with “spikes” of acrylic paint. These “spikes” of paint form geometric patterns and shapes and sometimes incorporate realistically rendered images creating depth, and striking optical illusions. David paints because he wants to contribute something good to humanity, whether it’s something beautiful, thought provoking and meaningful or just plain fun to look at.

Any general insight into your process you want to share?
The last couple pieces I’ve done have been a lot of fun for me. I was beginning to feel like my approach to my work was getting to be a little too formulaic and rigid. I really wanted to get looser with it somehow and not have such a preconceived idea going into each piece and just let things take shape naturally.

You work with a variety of mediums – Is there one in particular that influences the rest?
Not really, there’s kind of a balance between them all for the most part.

Does geometry and math play a role in your process?
Kind of, there’s obviously a lot geometry going on in my work, but by no means am I some kind of crazy math wiz. I’ve just gotten really good at being meticulous with measurements and angles, I should also probably to come to terms with the fact that I might have just wee bit of ocd…

What is currently influencing you?
I’ve been listening to a lot of audio books lately while I paint. Mostly Alan Watts, Haruki Murakami, Tom Robbins and I’m currently listening to a book on Biological Anthropology. I’m not sure how they actually influence my work, but I do think they can help during the really tedious parts of a painting.

Also time has been an influence lately, there’s nothing like a fast approaching deadline to get the creative juices flowing.

How has your process changed over time?
When I first started doing the textural spikes of paint about 8 years ago, I was only doing very simple square grid patterns. Then I started to play with vanishing points and more complex measurements and angles. I also started to experiment more with different hues of color, that’s when I really began to have fun with optical illusions and depth.

What are some of the responses you hear in regards to your work?
Most people seem to really like it, but sometimes I do get, “Oh wow, so you’re a digital artist!” which is understandable since most people are viewing my work online and there’s no denying that we’re all influenced by the digital world these days. I explain that it’s all done by hand and I don’t use a computer at all during the process, except for maybe reference material from time to time.

What is more important – content or technique?
I think they are both equally important. Although lately I feel my work has been more technique driven where as in the past it had a lot more symbolism and almost a narrative. I think it kind of ebbs and flows between the two.

Your work is very unique, what “style” would you consider it to be? Sculpture, mixed media, etc?
I’d say mixed media for sure. There is a tiny bit of a sculptural aspect to them but not really enough to call them sculptures. I’ve always struggled with describing my work to people. I kind of liked the term “spike-ism” that Andrew Hosner coined.

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Felipe Pantone "Excès de Vitesse"

Felipe Pantone (1986) is an Argentinian-Spanish artist. He started doing graffiti at the age of 12 and graduated with a Fine Art degree in Valencia Spain, where his studio is based. Felipe travels the world ceaselessly with his art. His work has been exhibited all over Europe, America, Australia, and Asia. He continues to break artistic conventions, especially in his new “Excès de Vitesse” (“Speeding” in French) exhibition at ALICE Gallery in Brussels, Belgium. The acclaimed artist created a new series of striking artworks that draw inspiration from computer glitches, kinetic art, graffiti, as well as 3D modeling. Paintings filled with strong colors, sharp edges, and bold shapes are observed throughout the selection alongside small kinetic sculptures that depends on the viewers’ natural motion to unleash a mind-boggling effect. Pantone's approach is to question the current era and its propensity to place new technologies at the center of our daily lives, making us dependent on a superabundance of images and symbols. He himself is passionate about the advent of the internet that allows instant access to the entire history of humanity. The problems he addresses are contemporary and universal: movement, the notion of time, saturation, alienation and destruction.

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Serena Mitnik Miller "Canyon"

C A N Y O N is a solo show of new works by San Francisco and Los Angeles-based painter and designer, Serena Mitnik-Miller. Through organic abstraction and pattern-based work, Miller’s subtle use of color and movement creates a subconscious interpretation of the ocean, nature and California coastline aesthetic. C A N Y O N will see the artist return to San Francisco with a series of watercolor on paper paintings, each painstakingly conceived with multiple layers of color and gestures on each work. The artist notes that the colors used in this particular exhibition are inspired by Topanga Canyon, the region where the artist resides in Southern California. The exhibition will open on June 1st 2018, and run through July 6th, 2018 at Chandran Gallery in San Francisco. 

Mitnik-MIller starts each work by laying out each piece in pencil. This procedure creates a practice
where no two piece is alike. The layout of each work, although organized by a grid, becomes an
naturally flowing process for the artist, where each piece takes a new path. Mitnik-Miller uses
color as the second layer of the process, again, creating what she calls a “very organic” method
to each work. “The shapes and patterns of these pieces represent and exploitation in the
variations of pattern that can be created,” Mitnik-Miller says, “With curves and corners, and a
combination of the two. I find the process of creating with a somewhat controlled process and a
loose medium of watercolor produces results that compel me to do it again.” The imperfections
of the medium, the uncontrollable nature of watercolor on paper, allows for new ways of viewing
each work. They create repetitions but truly unique experiences when seen as a whole in a gallery
setting, but individually become subtle reminders of the artist’s hand on each work.

Serena Mitnik-Miller is an artist and designer working in California. She splits her time between
San Francisco and Los Angeles, combining her days painting, designing, collecting, and
collaborating with her local artisan community. Serena’s paintings are created by hand using
watercolor pigment on paper. The compositions are fashioned by interconnecting patterns of
color and concentric shapes where structures break apart, bubbles stack, and pyramids multiply.
Each painting must strike a balance between layers of color, repetitive contour lines, and the inherent qualities of all the materials she employs. Her artwork usually begins with an impression
from the natural environment, where proximity to the ocean and coastal
habitats, often become symbolic permanent points of reference.

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AEC Interesni Kazki at Mirus Gallery

"The Earth is Flat." The stars are holes in the veil of night. The crocodile is the keeper of the underworld. The north pole is a pyramid shaped mountain from which the oceans of the world pour out. These archaic concepts that were once collective truths have been replaced. Today we look at the scientific and religious dogma of the past with the same amusement that our descendants will one day look at us. Theories are reality until proven otherwise. Earthly existence is awash with depth and mystery, but it’s hard for us humans to live in the dark unknowing. We seek answers, and if no evidence, we speculate. Beliefs are fickle, ideas are fluid and now the technological bandwagon is careening ahead so quickly most can’t keep up with its developments. 

We are living in the information age and a time of great technological inequality. The economic and
educational benefits of our inventions only reach those who can afford them. The divide is problematic but on the bright side allows other worlds to exist within this one. There is diversity of thought in disparity and old ideas persevere. Through exploring the planet one can see that the past, present and future coexist. The earth is now in fact a sphere and the stars are luminous balls of plasma. Still science and technology is not everyone’s god just yet; Blue skinned deities control the fate of millions, the dead dwell with the living, and magic spells cure the sick. While we rely on our smart phones to predict the weather, some can still just observe the day and know what is to come, as our ancestors did. Knowledge comes but it also gets lost. Within the thousands of years of interpretation, what connects us all and what have we forgotten? What can we agree on and what can we accept as unfathomable? Despite our different methods we can almost all agree that earth is in trouble. Though the saviour is ambiguous. A technological angel, a celestial king in white robes, or simply applying ancient knowledge today. Is our technology clouding our intuitive understanding of this world and our place in it? What applies to us all?

Looking into AEC’s work we see these questions. Just like life here on earth, the answers are entangled with duality and complexity. Struck with the same existential inquiries that have plagued the human imagination for centuries, we wonder in awe. We know there is meaning in everything, but we don’t know what it all means. The questions are important, and though we feel at the brink of understanding, solid answers are elusive to an open mind. We are invited into vast landscapes and narratives that replace the literal with metaphor. Time is void. Our planet is depicted not as a sphere, but a cube set ablaze. Gazing into a mirror a man sees the strong arm of the universe in his own reflection. In another painting a small bird removes an eye mask, enabling a blind man to see. A feminine force presents a flower in bloom while standing proudly on the head of an android. There is sublimity in these images. Alchemical transmutation of paint and ink into universal truths. The natural, supernatural, the divine, rock, mineral, plant and animal together speaking the language of paradise. 

These images come at a time when artificial intelligence threatens to overthrow Gaian intelligence. When we yearn to understand distant planets like Mars while still so few understand the planet they call home. AEC peels back the curtains of dogma and cultural parameters allowing us to see glimpses of our own connectivity. Within the millions of stories, theories, and digital databases here are commonalities. The illusion that we are all separate dissolves. He reminds us to peer into the metaphysical background, not dwell in the spiritual vacuum of more technology. 


What is god? Is there an afterlife? What is the soul? How does humankind live sustainably on this earth? They are the same questions we have asked since the beginning. AEC suggests that perhaps the answers that we yearn for have been all around us since the time the earth was flat. They were pointed to in the fundamental roots of religions before egos corrupted them. The mystics, poets, and artists knew. As did indigenous peoples living in harmony within all creation. Like these paintings existence here on earth is full of riddles but clues are in every seed, in every cell, in natural phenomena, in presence. Within the elaborations of science, religion, mythology, cosmology, myths and fairytales are universal truths. We see this kinship in AEC’s images and paradoxically the acceptance that there will always be more to this world than what we humans can perceive. Reviving our humanity adrift a chaotic system of symbols and explanations, we are humbled.   

-Aaron Glasson

 

 

Zio Zeigler "Bernard Gwilliam & the Quantum Modernism"

Bernard Gwilliam and the Quantum Modernism marks a shift in Ziegler’s work. Known to be prolific in both his gallery exhibitions and murals worldwide, this exhibition presents a cohesive group of paintings and sculptures dedicated to a yearlong investigation, into both formal properties and his own identity. While the work is distinctly recognizable, there is a clear formal evolution, marked by the tight color palette and often highly detailed and refined brushstrokes. Ziegler’s newest canvases, which he considers open source allegories, are a form of modern history painting. Laden with symbols, cultural and historic references, citations to literary and art history these rich and textured paintings, draw from philosophy, mathematics and mythology.

Ziegler’s theory of Quantum Modernism builds on the philosophy of French structuralist Roland Barthes who understood the text or artwork as limited by focusing on the creator’s influence. Quantum Modernism accepts that any given audience has a near in nite amount of information that is rapidly accessible, thus the context behind a given artwork is provided by the audience themselves, rather than the artist. As Barthes notes in the essay The Death of the Author, “the unity in a text lies not in its origins, but in its destination.” Ziegler’s works are so layered, that a single viewer can understand a single artwork in multiple ways from different perspectives simultaneously. Concurrently, the pseudonym Bernard Gwilliam, which fuses the name of Ziegler’s grandfather with his mother’s maiden name, further indicates the artist’s attempt to remove his own name and influence from the search for meaning. 

- Jules Maeght Gallery 

Interview: Infamous JeanClaude "Trinity of Oneness"

Infamous JeanClaude, "Frequencies in Fractions," digital collage



We are excited to see Infamous JeanClaude grinding on a new body of work for his upcoming collaborative show, "Trinity of Oneness," in Charlotte, NC with Cedric Umoja and Dogon Krigga. Thanks to the artist for spending time catching up with us. 


You've been on a hiatus from making work. How has your style or practice evolved since your last show?

Yeah. I was creating sporadically throughout last year, but this was the first year in a very long time that I didn't have a consistent flow with my art. I was dealing with some depression and was uninspired. These two issues had me in a choke hold for over a year. It felt so weird because I have thousands of ideas in my head but I was super unmotivated. It was a very awkward and tough period.

Once I climbed out of my depression and got my health issues under control it was like a windshield wiper cleared my brain and I was about to create more freely. My style has become a lot more loose, especially my graphic work, but I still have my elements of abstraction and clean lines in my pieces. I'm pretty excited to see how my style has unfolded/will unfold since last year.

I also haven't done a group or solo show in about two or three years because I have been doing more commissions for musicians and clothing lines.


How does your studio practice vary when you're painting versus when you are making digital work?
 

When I'm painting, it's usually just me with the canvas, paints and music blasting in my headphones. I probably got some incense going and my snacks near. I'm not really on my phone or anything when I'm working on paintings. I usually like to zone out and really take in the pieces that I'm working on. If you've ever seen that scene in the movie Basquiat where he plays the same song over and over but is working on like seven big pieces at once, the feeling is like that but a lot of smaller pieces and a smaller studio space.

Working digitally is similar but a little more free. I can be mobile with my work so I can work in a library or a coffee shop. When I need breaks I might surf the internet or check up on social media here and there. It's a little more sporadic but I have moments just like painting when I'll stare at the composition for a long time or maneuvering one piece 50 times until I find the right space for it to fit the composition. 


Infamous JeanClaude, "Float Like/Strong Like (Me, Myself and I)," digital collage


What is your connection to the other artists in Trinity of Oneness? 



Cedric Umoja is like a spiritual advisor and mentor to me. We're always diving deep in conversation on how to expand our craft and become better alchemists to speak to the masses. We've always talked about collabing over the years but we both have been busy, so this was perfect timing for both of us. I haven't formally met Dogon Krigga yet but I have been following his work for a few years now. It's interesting between us because we seem to fall in the same frequency a lot of times with our work, which is dope. That's why we all came together for this show. We all have similar themes and ideals but we show them in different ways. It was only right that we came together for a group show to get that good energy and vibes triple the source to the people.



Your work tends to be a narrative for your personal philosophy and spiritual experiences. Are there any specific themes present in this new body of work?

This new body of work is based around past life regressions, my ancestors, my heritage, life/death and the future. There's been a lot of important people passing in 2016 and I believe that is telling us there's going to be a big shift. I believe artists and musicians are going to be a part of the big shift of consciousness and I'm just trying to get people thinking like the artists that are in this show. This show is called "Trinity of Oneness." This is saying that we are all connected in some form and we are drawn to those who understand this idea. 

It is also balance: me, myself and I / Ego, Self, Understanding : Trinity


Infamous JeanClaude, "Golden Aura Angel," digital collage


What's your view on collective consciousness?

I believe are all connected. We just have to take ourselves outside of religion, tradition, school conditioning, loyalty ( by fear), etc. in order find our purpose, which will link you with like minds. It becomes a continuous cycle until it spreads into universal love. You just have to think, "What is my purpose? What is my gift?" and use that gift to help others unlock and understand their gifts.

We are also entering into a thought realm of manifesting and creating.  Feminine energy, I believe, will become prominent and will start balancing out the masculine energy that has been dominating our society for a long time. This is where the creatives will step in, bringing the half into a whole, helping push unity/oneness.


Favorite studio snack?

My go-to is anything gummy. Gummy, bears, gummy worms, etc. (Even though my brother showed me a video on how they are made and I probably should stop eating them.... but Ive been addicted since birth haha).My secondary choices that usually end up going with the gummy snacks are plain Lays, pretzels, water, and apple juice.




Collage by Dogon Krigga
Illustration by Cedric Umoja

Rich Fonseca "Ah Om" at Luna Rienne Gallery

"Ah Um, the title of a Charles Mingus album, is the sound one makes before introducing themselves to a large audience. With this, his second solo show, Fonseca will present his developing series of single- and mutli-plane vortex paintings.

Rich Fonseca is a self-taught painter and illustrator who uses geometry and color to convey how memories change, distort, and fracture with the passage of time. The placement of color arranges pattern over rhythm, utilizing op-art techniques to convey different layers of perception and interpretation. He lives and works in San Francisco."     -Luna Rienne

SF Skate Club Fundraiser This Sunday

Bigfoot was kind enough to donate a hand-painted skate deck to in support of SF Skate Club's upcoming Fundraiser. SFSC is a non-profit that is home for the Eduskate after school program, where middle school kids come after class to get mentoring, homework help, and skate time with a Pro, Shawn Connolley. This program is run by Shawn and his incredible wife, Thuy. It's a true pillar for San Francisco community and youth.

All proceeds for their fundraiser will directly benefit Eduskate.




Swoon and Monica Canilao "Witch-Wife"


   "Caledonia Curry — better known as Swoon — and Monica Canilao, the artists in the current show, call their joint project “Witch-Wife.” The phrase is an antiquated name for a witch. More provocatively, it is the title of a short poem, published in 1917, by Edna St. Vincent Millay. Written in the melancholy years just before American entry into World War I, the poem tells of a beautiful and beguiling, yet untamable and unattainable, woman. (Unattainable, at least, to men — the poem has been read as a lesbian anthem.)
   The exhibition touches on many other themes: motherhood, time, poverty, myth. Far from any linear narrative, however, it tumbles them together with the illogic of a dream. That’s not a bad thing: The best dreams are full of surprise twists and mysterious turns, which can be frightful, illuminating or amusing (often all of these). Half the gallery is a double-height space that Swoon and Canilao have packed with precariously towering sculptural works, stitched and tacked together from antique fabrics and remnant objects, building to immense forms that might be female giants in Victorian dress. This is where the exhibition really takes off, launching us into a dark landscape of free association and vaguely cinematic fantasy. 
  The challenge of authentically describing dreams or evincing the dream state has frustrated the most skillful of artists throughout history. Manifestations, perhaps, of the collective unconscious, dreams are, at the same time, unique to the dreamer. For several years Swoon has managed a project she calls “Dream Reliquary,” a website where hundreds of contributors have left descriptions of their dreams. By incorporating that bank of fantasy into an extraordinary environment of their own imagination, the artists have expanded their collaboration. The witch-wives need only us, the final element, to complete their spell."  
 - Charles Desmarais for SF Gate 











Louise Despont: Energy Scaffolds and Information Architecture

On view now through March 22, 2016 at the Drawing Center NYC



"Energy Scaffolds and Information Architecture is the first solo museum exhibition for Louise Despont, an artist best known for using compasses, stencils, and rulers to create intricate and deeply meditative drawings on ledger paper. For Energy Scaffolds and Information Architecture, The Drawing Center has commissioned a new site-specific architectural installation and several series of large-scale drawings that have been influenced by Despont’s recent relocation to Bal 


The first architectural enclosure on view, entitled Pure Potential, consists of a wooden façade covered by wooden dowels that create a textured and protective surface. For Despont, the series of eight Pure Potential drawings represent the transition of energy from formlessness into form.

The second architectural space, which is oval in shape, holds a monumental frieze drawing that is sixty feet in length, six feet in height, and composed of seven panels. The drawing depicts the relationship between a material form and a subtle body—the independent entity that manifests through the physical self. For Despont, the drawn lines in each work symbolize the invisible structures, channels, and pathways of energy that flow through and exist in symbiosis with the human body. The seven sections of this monumental work are divided by ten columns, each of which is fitted with a diamond form surrounded by a checkered pattern. The design is inspired by the Balinese kain poleng, a manifestation of sacred balance, while the diamond symbolizes the eye of awareness."
- The Drawing Center




Subtle and Circulatory, Female. Colored Pencil and Graphite on Antique Ledger Book Pages. 71 1/2 x 68 1/2

Source. Colored Pencil and Graphite on Antique Ledger Book Pages. 71 1/2 x 68 1/2

Return to Formlessness. Colored Pencil and Graphite on Antique Ledger Book Pages. 71 1/2 x 68 1/2



Shannon Finley "Paintings for the Future"


Shannon Finley is an artist based in Berlin, Germany. His recent paintings were on display at Jessica Silverman Gallery in SF. This show packed a lot of punch in person. 

"Finley creates geometric abstractions that belong to the world of science fiction. They pursue ambitious and adventurous formal logics whilst drawing on the art historical trajectories of Op Art, Futurism and Cubism. The paintings’ aesthetic intelligence engages the eye and the mind; their distinct atmospheres and sensual surfaces speak to our emotional and physical selves.  

These “Paintings for the Future” have myriad associations including mathematical models, psychedelia, 3D virtual worlds, mineral crystals, and stained glass windows. The artist attributes the energy and dynamism of his work to the influence of the electronic music he plays and listens to in the studio. As he puts it, “I try to make paintings that overwhelm you visually like a room full of loud music, but then give way to a kind of meditative silence.” 

Finley builds up as many as forty layers of paint using a mixture of acrylics and clear gels. Instead of using a paintbrush, the artist pulls paint across the canvas with razor- sharp, custom- made, stainless steel palette knives. The result is a surface that seems to radiate light. It bears no trace of the artist’s hand, but is nevertheless irreducible and unique. Finley’s time-consuming process is not flaunted, but revealed obliquely in the works’ pensive moods and gooey, painterly edges." - Jessica Silverman Gallery














Brendan Monroe " Morphology "

Brendan Monroe aka Brendan the Blob is known worldwide for his giant murals that adorn 

different cities. Based in Oakland, he translates his interpretations about science into other medium also. Recently, Heath Ceramics in SF presented new works from Brendan in their Boiler Room gallery space. He has been working on these sculptures in Heath's facilities for most of the year. 

 

"A sculptor and painter, his work consists of explorations of his ideas and dreams, translated into images of a familiar but unseen world. It's this dual quality and the tension between the reality and surreality that gives them their power and allure."     -Boiler Room SF

 

Gianluca Franzese "Reflective Radiation"


"Photoelectric," aluminum, silver, and 12k white gold leaf with acrylic glazes on panel, 6 x 10 feet, 2015

Gianluca Franzese recently opened his solo show "Reflective Radiation" at K. Imperial Fine Art in San Francisco. This impressive body of work was created with metal leafing and acrylic washes, a painstakingly precise process. The largest piece in the show, "Photoelectric" dominates the gallery space with its six-feet-by-ten-feet dimensions and took the artist eight months to complete.

Luca Franzese "Reflective Radiation" photo by Katie Pilgrim

"Franzese’s meticulous process incorporates traditional gilding techniques and a variation of mediums. Initially, Franzese covers the entire panel with aluminum, creating his blank canvas. With precision, Franzese engraves his geometric patterns directly into the panel creating an outline for the application of color and metal leaf. Reflective Radiation explores the notion of light and illusion while each painting plays with the viewer’s perspective with various grades of shimmer, illuminating the space.
Gianluca Franzese is an Italian-born American artist who has lived and worked in San Francisco over the past 14 years. The son of a jewelry maker and a pupil of the old masters of Italian art, Franzese started painting early on, moving through realist, expressive, and narrative styles. Franzese has exhibited in, California, Norway, Italy and London. Franzese holds a degree in painting and sculpture from the Florence Academy of Art." - K. Imperial 

Luca Franzese "Reflective Radiation"
"Current Frequency," aluminum, silver, and 12k white gold leaf with acrylic glazes on panel, 41 x 52 inches, 2015.

Luca Franzese "Reflective Radiation"
"Inversion," aluminum, silver, 22k gold, and 12k white gold leaf with acrylic glazes on panel, 5 ft x ft, 2015. 

Luca Franzese "Reflective Radiation"
"Ion," aluminum and silver with acrylic glazes on panel, 12 in diameter, 2015.

Luca Franzese "Reflective Radiation"
"Iron Core," aluminum, silver, and 12k white gold leaf with acrylic glazes on panel, 36 x 48 inches, 2015. 

Luca Franzese "Reflective Radiation"
"Triodes," aluminum, silver, 22k gold, and 12k white gold leaf with acrylic glazes on panel, 60 x 52 inches, 2015.
Luca Franzese "Reflective Radiation"
"Spectrum," aluminum, silver, and 12k white gold leaf with acrylic glazes on panel, 29 x 38 inches, 2015.

Luca Franzese "Reflective Radiation"
"Neblua," aluminum, silver, and 12k white gold leaf with acrylic glazes on panel, 3 foot diameter, 2015.