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| James Hubbell, Pregnant Sea Oct 23, 1992. Watercolor, 12" x 16". This auction lot is an opportunity for you to own one of Hubbell’s distinctive and quietly breathtaking watercolors. Produced in 1992 on the artist’s 60th birthday, this enchanting painting was created when he treated himself to a visit to Torrey Pines. For over six decades James Hubbell has produced thousands of works of art including hand-crafted windows, doors, gates, and sculpture in almost every material, such as wood, stone, metal, and glass. His art has been embodied in homes, schools, gardens, nature centers, museums, and peace parks around the world, and four breathtaking solo exhibitions originated at OMA. From Theodore F. Wolff’s essay in the The Watercolors of James Hubbell: Meditations on Nature and Life exhibition catalog in 2005: “I was struck first by their immediacy, their wonderful sense of presence, and then by how warmly and lovingly romantic they were in effect. Here is an artist who obviously gloried in nature and painted it, not only with great love and respect, but with a sense of joy and awe at the wonders that lay before him.” The Watercolors of James Hubbell, Meditations on Nature and Life 2005 exhibition at OMA The artist’s website SD Union Tribune article SD Union Tribune video Hugh Davies’ Expert Opinion video for this artwork |
| Einar and Jamex de la Torre, Little Black Pearl, 2015. Blown glass with cast resin base, 26" x 11" x 10". Own an iconic glass sculpture by internationally famous collaborating brothers Einar and Jamex de la Torre. This sculpture was created at the Little Black Pearl Art and Design Academy, an arts-focused high school in Chicago helping at-risk teens. According to the artists, this wrestler is fighting for equality in education. Collaborating brothers, Einar and Jamex De La Torre, were born in Guadalajara, México, 1963, & 1960. In a sudden family move, the brothers moved to The United States in 1972, going from a traditional catholic school to a small California beach Town. They both attended California State University at Long Beach, Jamex got a BFA in Sculpture in 1983, while Einar decided against the utility of an art degree. Currently the brothers live and work on both sides of the border, The Guadalupe Valley in Baja California, México, and San Diego, California. The complexities of the immigrant experience and contradicting bicultural identities, as well as their current life and practice on both sides of border, inform their narrative and aesthetics. The Brothers have been collaborating in earnest since the 1990’s. Over the years they have developed their signature style featuring mix media work with blown glass sculpture and installation art. Their pieces represent a multifaceted view of life that reflects a complex and humorous aesthetic that could be seen as multi-layered baroque. Their approach is additive, constantly combining material and meaning. Influences range from religious iconography to German expressionism while also paying homage to Mexican vernacular arts and pre-Columbian art. In the last 15 years they have been creating photomural installations and using Lenticular printing as a major part of their repertoire. They have won The USA Artists Fellowship award, The Louis Comfort Tiffany Award, The Joan Mitchell Foundation Award, and The San Diego Art Prize,. They have had 18 solo museum exhibitions, completed 8 major public art projects and have participated in 4 biennales. The artists’ website The De La Torre brother’s Heart of Glass artwork creation video Interview with the artists Hugh Davies’ Expert Opinion video for this artwork |
| Marjorie Nodelman, Utilitarian Items Still Life, c. 1975. Oil on canvas, 30" diameter. OMA was honored to celebrate Marjorie Nodelman (1950-2014) in 2016 with the longest running exhibition in the museum’s history. Nodelman was a highly educated, high-energy artist who helped define contemporary art making in San Diego during the ‘80s and early ‘90s. In 1975, she moved to San Diego and began a professional career in painting and sculpture and for the next 17 years became one of the most prolific and inventive artists in the San Diego and Los Angeles areas. Nodelman’s irrepressible joy and exuberance for life are reflected in her intuitive approach to painting and sculpture. From a sweet potato to the military industrial complex, from an art deco button to an orange cement truck—nothing was too small or commonplace to explore or to be a source of imagery for her paintings and sculpture. In a deep sense, her art was egalitarian and non-hierarchical, which resulted in an openness to the universe and a purity of spirit. Nodelman’s uniquely circular and shaped canvases became the hallmark of her paintings until they inevitably pushed out from the wall and became painted and even upholstered three-dimensional wall sculptures. The artist’s website The artit’s 2016 OMA Exhibition |
| EXCLUSIVE BEHIND-THE-SCENES TOUR: OCEANSIDE'S RENAISSANCE IN THE MAKING Put on your hard hats to experience Oceanside’s renaissance in the making! Join Jeremy Cohen, project executive of SD Malkin Properties and developer of Oceanside Beach Resorts, for an exclusive hard hat tour of the Oceanside Beach Resort construction site. This is a rare and exclusive opportunity for up to four intrepid explorers to see what few have access to experience and make a toast with a favorite beverage at one of the soon-to-be rooftop bars overlooking the Pacific Ocean and Oceanside Pier—sunset would be perfect! The group will also enjoy a sneak preview of the hotel model rooms complete with artwork curated by OMA staff. No fair sneaking in anyone a liated with a competitor. Time and date to be arranged in advance, subject to availability. Expires December 31, 2020. |
| PRIVATE ART TOUR: COLLECTION OF ROBIN J. LIPMAN A group of eight art lovers will enjoy a one-of-a-kind collector's tour generously hosted by OMA patron Robin J. Lipman. In addition to exploring Lipman’s extensive, jam-packed international contemporary and folk art collection in her beautiful Carmel Valley home, the winners will also be able to choose a wine and cheese or coffee and dessert reception. Lipman started collecting in the ’90s and has continued throughout her extensive global travels ever since. Her collection encompasses both representational and abstract art with a penchant for tomatoes (an homage to her father who farmed them) and all things red. Lipman says that commissioned portraits of herself are among favorites in her collection. She has customized spaces and lighting throughout her home to accommodate specific works of art and extends work into all areas of her home including the bathrooms and laundry room. Lipman has also had mosaic and sculpture built into the structure of her home, including a fireplace and in her outdoor patio. Time and date to be arranged in advance, and subject to the widespread availability of a coronavirus vaccine. |
| Dan Adams, Camilla, 2019. Acrylic on canvas, 10" x 10". “This painting is a portrait of our Xoloitzquintle (Mexican Hairless) dog. She is the subject of many of my dog portraits, my muse.” –Dan Adams In 1975, Adams saw an exhibition of work by Henri Toulouse-Lautrec at the San Diego Museum of Art. Although he had no formal training, he was inspired to try his hand at painting. Since then he has garnered critical acclaim and has been honored with numerous awards for his work. Using dogs, everyday objects, his family members, and self-portraits as subjects, Adams creations are an exuberant demonstration of the power of unfettered brushwork and the massive qualities of paint. The artist’s website SD Union Tribune article |
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Kirby Kendrick
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| David Adey, Terrestrial Nebula 11 (Series of 12), 2014. Laser-cut paper, fluorescent acrylic, and pins on PVC foam panel, 17" x 17". An excerpt from David Adey’s statement on contrast and unity: “One of the most important principals in developing a successful composition is contrast. Contrast can be defined as unity among dissimilar elements. Unity is a delicate and difficult state to achieve. When contrast is employed effectively a state of harmony is the result. We find that it is the distinctions among compositional elements, not necessarily the similarities, that create unity. An experienced designer learns that the more distinct the elements are from each other, the more effectively they work together.” The artist’s website KCET Art Bound article and videos Hugh Davies’ Expert Opinion video for this artwork |
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Marie Tartar
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| Andrew Alcasid, Denim, 2019. Etching ink on Stonehenge monotype, 9" x 9". Andrew Alcasid (b.198X) is a Southern California based artist. Born in the Mira Mesa neighborhood of San Diego, Alcasid is primarily self-taught, although he has taken art classes at San Diego City and Mesa colleges. When looking to his influences within the contemporary art cannon, Alcasid draws inspiration from the artists of the light and space movement of the 1960s and ‘70s. Currently displaying work throughout San Diego, his work has been exhibited in numerous group and solo exhibitions throughout the region. Alcasid has held a long-term artist residency at one of the region’s most formidable art centers, Bread and Salt. The artist’s Instagram page About the Artist video |
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Drei Kiel
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| Andrew Alcasid, RYB, 2019. Etching ink on Stonehenge monotype, 9" x 9". Andrew Alcasid (b.198X) is a Southern California based artist. Born in the Mira Mesa neighborhood of San Diego, Alcasid is primarily self-taught, although he has taken art classes at San Diego City and Mesa colleges. When looking to his influences within the contemporary art cannon, Alcasid draws inspiration from the artists of the light and space movement of the 1960s and ‘70s. Currently displaying work throughout San Diego, his work has been exhibited in numerous group and solo exhibitions throughout the region. Alcasid has held a long-term artist residency at one of the region’s most formidable art centers, Bread and Salt. The artist’s Instagram page About the Artist video |
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Alan Zeleznikar
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| Dean Andrews, Rite of Spring I, 2019. Acrylic on canvas, 12" x 12". “Rite of Spring I expresses the light-hearted exuberance felt when the longer, brighter days of spring are approaching. The painting feels very whimsical to me–almost like a musical improvisation. The painting is part of a suite of small works that grew quite spontaneously out of a body of large works called Rustle of Spring. I was invited by the City of Encinitas Arts Program to have an exhibition at the Encinitas Library in the spring, which became the inspiration for this work.” –Dean Andrews Dean Andrews was drawn to the California light in her early 20s and moved to San Diego soon after receiving her BFA at the University of Connecticut. She has since had studios in places with both artistic allure and challenges: Los Angeles, New York City, Bennington, Vermont, East Hampton, New York, and finally back to Carlsbad. While early in her career she was dubbed part of the California Light and Space movement, she has expanded her explorations to include expressive color, gesture, and dynamic compositions that, in the aggregate, celebrate pure abstraction and the beauty and excitement of the paint itself. The artist’s website About the Artist video Video blurb from the artist about this artwork |
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Helen Frey
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| Antonios Aspromourgos, Gemini, 2017. Graphite on paper, 22.5" x 19". “The title of this piece and the two upturned arms evoke the stronger bond between twins, the symbol of the astrological sign for the month of June.” –Antonios Aspromourgos Born of Greek parents in West Berlin, Germany, Antonios was educated in Greece, graduating from the AKTO School of Fine Arts. He began his career as a graphic designer and became the Art Director at several high-profile magazines and publishing houses (Vogue – Liberis Publications, Nitro / Downtown – IMAKO). From 1993 to 2015, he worked in several fields, freelancing in illustration, graphic design, painting, and education. He specialized in fashion, children’s books, cover art, and character illustration, mastering techniques in different mediums. For the past five years, Antonios has worked exclusively as a fine art painter. The artist’s website American Art Collector article |
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| Antonios Aspromourgos, Reflections in Time, 2018. Oil on canvas, 24" x 24". “This painting is an homage to family heirlooms. The silver vase in the background belongs to my mother, the silver tea service is Italian mid-century. The small square silver sugar dish belonged to Mel’s great aunt, the silver box is from Tiffany & Co. The silver pitcher on the left belonged to a famous TV star of the 1950s. Finally, the sterling chalice on the right is hand made by the famous Greek silver House of Lalaounis. The reflections are to suggest the echo such items have between generations.” –Antonios Aspromourgos Born of Greek parents in West Berlin, Germany, Antonios was educated in Greece, graduating from the AKTO School of Fine Arts. He began his career as a graphic designer and became the Art Director at several high-profile magazines and publishing houses (Vogue – Liberis Publications, Nitro / Downtown – IMAKO). From 1993 to 2015, he worked in several fields, freelancing in illustration, graphic design, painting, and education. He specialized in fashion, children’s books, cover art, and character illustration, mastering techniques in different mediums. For the past five years, Antonios has worked exclusively as a fine art painter. The artist’s website American Art Collector article |
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| Charlotte Bird, Fruiting Body #7, 2008. Art Quilt, 19.5" x 18.5". Charlotte Bird's art career began in 1987 after she and her husband spent most of a year in a cabin in Denali National Park, Alaska. Since then she has explored a variety of art forms including art quilts, artist books, textile design and dyeing, one-of-a-kind women's clothing, and mixed media sculptural forms. Textiles always have played a central role in her work. Curiosity is the foundation of all her explorations. Time, process and change are persistent themes in Bird's work. She is fascinated by the microscopic, as much for the shapes and forms of the creatures and plants, as for the science. Big and small microbes form the foundations of ecosystems and therefore life on earth. A lifelong interest in anthropology also informs many of the marks she uses. Virtual Studio Visit: Charlotte Bird The artist’s website Art and Artists article |
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Rita Bassi
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| Bosko, Pop Idol - PNG Plaque, 2019. Hand carved and painted redwood, 29" x 12" x 2". “From 1963 to 1976 my family moved four times, but always in the same area: Just off of Rosemead Blvd in Southern California's San Gabriel valley. From the back seat of my parents ‘64 Impala, I was amazed by the nightly drive past all of the mid-century Architectural landmarks. By day, peddling my bike, it seemed quite natural to see huge Tiki Gods, waterfalls, and volcanoes in front of A-frames. But by the mid ‘80s, when I started buying my own Tiki mugs, I realized there was something odd about seeing the Polynesian style transplanted to Southern California. Nevertheless, my attraction to it kept growing and growing, and when Sven Kirsten explained to me in 1992 that there was a California Tiki style–at once modern, primitive and cartoonish– it was like an epiphany.” The artist’s website Bosko and the Rebirth of Tiki movie trailer SD Union Tribune article |
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Kathleen Mulderrig
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| Sara Botts, I Dream of Genie, c. 1975. Acrylic on canvas, 22" x 37". Sara Botts was a founding member and dedicated supporter of OMA. At OMA, Botts was passionate about raising membership numbers as an energetic and integral contributor to the membership committee. She had a life-long love of art, having studied artistic subjects in college. She always expressed herself creatively, and dabbled in many diverse media including photography, tile collage, ceramics, found objects and painting. She became interested in creating miniature room tableaux when she and her husband, Ray, moved to Ocean Hills in 1989. She was very involved with the art club at Ocean Hills, developing her skills in all of the artistic pursuits she had been drawn to for so long. She loved color and had a unique and whimsical vision for artwork and every aspect of her life. |
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Rudy Van Hunnick
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| Sara Botts, Woman in a Red Jacket (After Matisse), 1973. Acrylic on canvas, 30" x 24". Sara Botts was a founding member and dedicated supporter of OMA. At OMA, Botts was passionate about raising membership numbers as an energetic and integral contributor to the membership committee. She had a life-long love of art, having studied artistic subjects in college. She always expressed herself creatively, and dabbled in many diverse media including photography, tile collage, ceramics, found objects and painting. She became interested in creating miniature room tableaux when she and her husband, Ray, moved to Ocean Hills in 1989. She was very involved with the art club at Ocean Hills, developing her skills in all of the artistic pursuits she had been drawn to for so long. She loved color and had a unique and whimsical vision for artwork and every aspect of her life. |
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Gordon Kaplan
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| Neil Brooks, By the Rocks Torrey Pines, 2019. Oil on birch, 60" x 60". “By the Rocks was started by priming each quadrant with contrasting colors, rather than starting with a white ground. I wanted to see how that would affect the painting as it progressed. Fun to throw curve balls into the mix rather than always going with the tried-and-true so one can find new paths.” –Neil Brooks “My inspiration most often comes from my sketch books. People and places I draw up and down the North county coast of San Diego. Usually I use these in the studio to paint from, it feels like a nice go-between of place and imagination. At that point my inspiration comes from cut-up canvases or watercolors, and a big pile of oil soaked rags that I have been wiping canvases with, trying to fix ‘mistakes’. It's fun ad exasperating at the same time. I really try to do something new on every painting, even if it's a failure. Perhaps it will be used successfully on the next painting.” –Neil Brooks The artist’s website The artist’s 2017 OMA Exhibition |
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Gloria Hall
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| Neil Brooks, Torrey Pines, 2019. Oil on birch, 42" x 52". “Torrey Pines was done from on-site drawings and painted from drawings and photographs. The two rather transparent trees on the left side were an attempt to get away from reality somewhat, to make the overall composition more satisfying. Often the dilemma between an unsatisfying symmetry in a perceived “real life” vs a real life that might be corrected with abstraction.” –Neil Brooks “My inspiration most often comes from my sketch books. People and places I draw up and down the North county coast of San Diego. Usually I use these in the studio to paint from, it feels like a nice go-between of place and imagination. At that point my inspiration comes from cut-up canvases or watercolors, and a big pile of oil soaked rags that I have been wiping canvases with, trying to fix ‘mistakes’. It's fun ad exasperating at the same time. I really try to do something new on every painting, even if it's a failure. Perhaps it will be used successfully on the next painting.” –Neil Brooks The artist’s website The artist’s 2017 OMA Exhibition |
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max borseth
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| Dan Camp, Attendants at Böcklin's Tomb, 2015. Oil and enamel on canvas, 24" x 36". “Arnold Böcklin painted an immensely iconic paintings of modern times, The Isle of the Dead, an artwork that is projected in most Western Art History survey classes. His fanciful and intense paintings depict a contemporary (not modern) and personal vision of mythology. One could say he was one of the fathers of Surrealism, as DeChirico and Picasso were his acolytes. Death was usually the punchline. Having basically eschewed the Modern tradition in my work and subsequently found kindred spirits in 19th century Romanticism, Böcklin's sea paintings have been inspirational to me. I've never considered my work “Surreal”... but then I don't think it could be said that it's not.” –Dan Camp The artist’s website |
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| Janell Cannon, Fuzzheads, 1984. Fade resistant ink on neutral pH Arches paper, 36" x 24". Janell Cannon is an American children's author and illustrator. Her first book, Stellaluna (1993), about a baby fruit bat, has been included in the National Education Association and School Library Journal's list of 100 best children's books of all time. Stellaluna has been translated into 30 languages. The artist’s page on her publisher’s website The artist’s 2018 OMA Exhibition |
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Holly Moyer
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| Sandra Chanis L., Happy Family, 2019. Stoneware, 8" x 8" x 13". “There is something about working with clay, from dirt, from that raw and responsive nature of the material that makes shapes, shadows, and empty spaces reveal themselves through your hands with that inexplicable energy that is the spirit of art. Shapes start to take form as if I have no control of what is happening. They begin to get heads, legs, arms, necks, snakes, hands and fingers with no serious purpose. The end result: frivolous!” –Sandra Chanis L. The artsit’s website The artist’s #IsolationInspiration |
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marilyn agredano
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| Sandra Chanis L., Three Rams and Hand, 2019. Stoneware, 7" x 11" x 9". “There is something about working with clay, from dirt, from that raw and responsive nature of the material that makes shapes, shadows, and empty spaces reveal themselves through your hands with that inexplicable energy that is the spirit of art. Shapes start to take form as if I have no control of what is happening. They begin to get heads, legs, arms, necks, snakes, hands and fingers with no serious purpose. The end result: frivolous!” –Sandra Chanis L. The artsit’s website The artist’s #IsolationInspiration |
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Shelley Clark
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| Sandra Chanis L., Two Headed Sentinel, 2019. Stoneware, 38" x 12" x 7". “There is something about working with clay, from dirt, from that raw and responsive nature of the material that makes shapes, shadows, and empty spaces reveal themselves through your hands with that inexplicable energy that is the spirit of art. Shapes start to take form as if I have no control of what is happening. They begin to get heads, legs, arms, necks, snakes, hands and fingers with no serious purpose. The end result: frivolous!” –Sandra Chanis L. The artsit’s website The artist’s #IsolationInspiration |
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Jay Bao
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| Taylor Chapin, Ralph's Revelations, 2018. Acrylic on canvas, 24" x 24". “This piece is from a series of reimagined still life paintings. To create the set up, I go to the grocery store and construct arrangements of packaged products in the aisle and photograph them (always making sure to put everything back where I found it after). I start with painting a straightforward, representational still life. Then, I begin to mirror, distort, and distribute the imagery in an unexpected way on top of the original painting. This over the top composition speaks to the excess and absurdity of the current state of American consumer culture.” –Taylor Chapin Taylor Chapin is a painter working in oil and acrylic. Her work emphasizes pattern, light, reflection, and repetition. Kitsch, consumerism, euphemisms, and voyeuristic separation are examined to suggest the inherent comedy, and absurdity, of daily life. She paints routine moments and objects to enhance the oddities of American consumer culture. She is captivated by the magic in the mundane and is driven by a keen sense of observation and attention to atmosphere. Chapin received a Bachelor of Fine Arts in Painting from San Francisco Art Institute in 2016. She is currently in the first year of her Master of Fine Arts in the School of Visual Art at University of California, San Diego. She lives and works in Leucadia, CA. The artist’s website Tax Collection interview SD Voyager interview The artist’s upcoming OMA exhibition |
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Robin Lipman
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| Taylor Chapin, Selected assortment from Share a Coke series, Individual titles from top left clockwise: Sharing Soda, She’s Legal, Cheaters, Jack & Coke, Selfie, Coke D’Avignon, Green with Envy, Persistence of Coke, 2018. Acrylic on canvas paper, 12" x 9" each. Sold as a set of eight “The Share a Coke series started with my fascination with the Share a Coke ad campaign that initially launched in 2011. I was interested in subverting the use of the widely known Coca Cola branding and advertising, through a humorous and kitschy aesthetic, to playfully critique predatory advertising and the commercialization of art. In the past, these works have been installed alongside actual Coca Cola bottles adhered to the wall between each painting. This selection is part of a larger series that contains over 30 different iterations of the Share a Coke model.” –Taylor Chapin Taylor Chapin is a painter working in oil and acrylic. Her work emphasizes pattern, light, reflection, and repetition. Kitsch, consumerism, euphemisms, and voyeuristic separation are examined to suggest the inherent comedy, and absurdity, of daily life. She paints routine moments and objects to enhance the oddities of American consumer culture. She is captivated by the magic in the mundane and is driven by a keen sense of observation and attention to atmosphere. Chapin received a Bachelor of Fine Arts in Painting from San Francisco Art Institute in 2016. She is currently in the first year of her Master of Fine Arts in the School of Visual Art at University of California, San Diego. She lives and works in Leucadia, CA. The artist’s website Tax Collection interview SD Voyager interview The artist’s upcoming OMA exhibition |
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Jennifer Coakley
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| Deron Cohen, 3 Little Birds (Spring #4), 2011. Oil on masonite, 24" x 36". "Flowers in bloom. Birds chirping in flight. Spring's abundance brings sensory delight. “I started this painting the same way I start most paintings–without knowing what it would become. I create organic shapes by squirting liquid glazes on to the canvas. I will often let that layer of glaze dry and add more layers until I'm satisfied. Once the glazes dry, I let my imagination latch onto those shapes. With help from a paintbrush, I coax the shapes into images. Little by little, a strange and beautiful story emerges.”b–Deron Cohen Along with showing extensively in galleries throughout San Diego, Cohen has created magazine illustrations, done graphic design work, and taught others how to express themselves creatively through art. He has been creating curricula for children’s art programs and teaching them, most recently through Arts For Learning San Diego. Cohen received a Bachelor in Fine Art from UCLA in 1994. The artist’s website |
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| Christopher Conroe, Hidden Tower, 2019. Pen and ink on paper, 15" x 19". “I have been working on works with these motifs in them for a few years now—developing them, synthesizing diverse motifs with other works, and playing with the results. This one I made while gallery sitting at the Del Mar Art Center Gallery, now defunct. I was listening to jazz, classical, and pop-rock music while I drew and painted the Hidden Tower. Miles Davis, Charlie Parker, Brahms’ Hungarian Dances, the Talking Heads, etc. I love the resonance and engagement of play, mischievousness, cheekiness, mysticism, magic, action, and fantasy in them.” –Christopher Conroe “My art and design career is the result of my passion for expression. It also results from a commitment to study. I am interested in progressing further on my journey of developing my artistic voice and expanding my creative passion. I am inspired by subjects with dimorphic relations like music and color, myth-fantasy, the environment-technology, concepts-animal emotions, and the creative process.” –Christopher Conroe Conroe studied at San Francisco State University, l'Accademia di Belle Arti di Firenze, Italy, and Pratt Institute. He received a Bachelor of Arts degree from SFSU in 2008 and a Masters of Fine Arts from Pratt in 2012. The artist’s website |
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Margie Newell
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| Carol Cottone, Old Point Loma Lighthouse, 2010. Watercolor, 18" x 19". The artist’s website A video of the artist at work |
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Marianne Pekala
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| Carol Cottone, Star of India, 2010. Watercolor, 14.5" x 19.5". The artist’s website A video of the artist at work |
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| Lisa Curry, Sun Bathing (Iguana on Rock), 2018. Chinese brush, 30" x 22". “This artwork earned 1st place Asian Arts at the San Diego Fair 2019. Look closely: The color portion of the body down through the tail of the iguana was painted in a single stroke. A large brush was loaded with yellow and blue paint, tapped to make green in the middle, mixed with just the right amount of water. Painting with a single stroke is a sudden death gambit. Since the rice paper is very thin and absorbent, deciding how far from the ink line to place the brush is critical. Success or failure in a single gesture is discovered in an instant.” –Lisa Curry Lisa Curry’s main art interest is Chinese brush painting and Chinese calligraphy. She also works in watercolor and pastel. Her inspiration for painting and calligraphy comes from the centeredness she discovers in herself while observing and appreciating the beauty, flow, and structure of nature. She is past president of the Chinese Brush Painting Society and is on the board of the American Association of Chinese Brush Painting. She has been studying Chinese brushstroke and calligraphy since 1990, with two masters of Chinese art, Jean Shen and Shantien Tom Chow, and at the China Art Academy in Hangzhou, China. San Dieguito Art Guild portfolio |
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| Lisa Curry, Yosemite Falls, 2018. Chinese brush, 20" x 16". Lisa Curry’s main art interest is Chinese brush painting and Chinese calligraphy. She also works in watercolor and pastel. Her inspiration for painting and calligraphy comes from the centeredness she discovers in herself while observing and appreciating the beauty, flow, and structure of nature. She is past president of the Chinese Brush Painting Society and is on the board of the American Association of Chinese Brush Painting. She has been studying Chinese brushstroke and calligraphy since 1990, with two masters of Chinese art, Jean Shen and Shantien Tom Chow, and at the China Art Academy in Hangzhou, China. San Dieguito Art Guild portfolio |
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Kelly Willmott
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| Morgan DeLuna, Dunes, 2017. Archival pigment print, edition 1 of 5 +2AP, framed with UV protected glazing, 8" x 8". “I composed and photographed this un-retouched self-portrait by handholding the camera in my natural light studio. In this photo, I am treating the body as a landscape in a document to mark the passage of time and acceptance of change. I chose the small scale of the photograph to offer the intimate experience of a journal entry. This piece is part of an ongoing series titled Extrospection.” –Morgan DeLuna Morgan DeLuna was born and raised in the Twin Cities, Minnesota and relocated to Southern California in 2004. DeLuna's work as a photographic artist explores topics of the human condition and liminal space. She presents themes that address the relationship between identity, appearance, and human connection to provoke questions, dialog, and engagement with the viewer. DeLuna's practice is informed by her experience of growing up in an ethnically and religiously diverse family and a long-standing interest in the fields of anthropology, history, and science. The artist’s website |
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| Ellen Dieter, Beguiled, 2015. Oil on canvas, 45" x 45". “Part of my abstract series about crossing lines and overlapping shapes, Beguiled means to charm or enchant, sometimes in a deceptive way. I am enchanted by lines, color, value, and shape in both abstract and representational work. I seek to share that enchantment and mystery with the observer.” –Ellen Dieter Ellen Dieter was born and raised in Cleveland, Ohio. After studying at the Cleveland Institute of Art and the Cooper School of Art, in Cleveland, Dieter moved to Paris, France where she continued her education at L’Ecole des Arts Appliques. After a decade abroad, Dieter returned to the United States settling in San Diego, California. Dieter’s work presents a unique combination of figurative, abstract and drawing. Her focus is on the formal qualities of art: line, shape, form, tone, texture, pattern, color, and composition. Dieter’s paintings are created intuitively, led by inner emotions and a creative imagination including her current environment. The combination of these styles and her treatment of the materials give her work a lyrical quality that transports our imagination. The artist’s website OMA’s SmallTalk artist panel webinar Video blurb from the artist about this artwork The artist’s 2017 OMA Exhibition |
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Gloria Hall
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| Ellen Dieter, Little House on the Hill, Oil on canvas, 30" x 40". “Imaginary landscapes are so fun to paint, a mountain here, a meadow there. When I was painting this work, I was dreaming of having a small house way out in the middle of nowhere with huge flowers surrounding it. What fun it would be to paint in this house with the beautiful view.” –Ellen Dieter Ellen Dieter was born and raised in Cleveland, Ohio. After studying at the Cleveland Institute of Art and the Cooper School of Art, in Cleveland, Dieter moved to Paris, France where she continued her education at L’Ecole des Arts Appliques. After a decade abroad, Dieter returned to the United States settling in San Diego, California. Dieter’s work presents a unique combination of figurative, abstract and drawing. Her focus is on the formal qualities of art: line, shape, form, tone, texture, pattern, color, and composition. Dieter’s paintings are created intuitively, led by inner emotions and a creative imagination including her current environment. The combination of these styles and her treatment of the materials give her work a lyrical quality that transports our imagination. The artist’s website OMA’s SmallTalk artist panel webinar Video blurb from the artist about this artwork The artist’s 2017 OMA Exhibition |
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Deena Altman
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| Ellen Dieter, Night Traveler, 2019. Oil on canvas, 36" x 48". “I love the night, the stars, the shapes that appear, the mystery. As I was painting this make-believe yard, I glanced out my patio window and saw my grandson’s tricycle. I couldn’t help myself, and had to add it giving the painting a different story.” –Ellen Dieter Ellen Dieter was born and raised in Cleveland, Ohio. After studying at the Cleveland Institute of Art and the Cooper School of Art, in Cleveland, Dieter moved to Paris, France where she continued her education at L’Ecole des Arts Appliques. After a decade abroad, Dieter returned to the United States settling in San Diego, California. Dieter’s work presents a unique combination of figurative, abstract and drawing. Her focus is on the formal qualities of art: line, shape, form, tone, texture, pattern, color, and composition. Dieter’s paintings are created intuitively, led by inner emotions and a creative imagination including her current environment. The combination of these styles and her treatment of the materials give her work a lyrical quality that transports our imagination. The artist’s website OMA’s SmallTalk artist panel webinar Video blurb from the artist about this artwork The artist’s 2017 OMA Exhibition |
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max borseth
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| Alexandra Dillon, Agatha Brush, 2018. Acrylic on worn paintbrush, 13" x 3.25". “Although I find inspiration in ancient art, Baroque painting, and 18th century portraiture, all of the characters in my brush portraits are imagined. I strive to imbue them with their own personalities and peculiarities. The eyes look back at you and create a conversation about presence and self-hood.” –Alexandra Dillon The characters in Alexandra Dillon’s surreal portraits occur to her in a way similar to how novelists dream up their characters—they just show up in her imagination and tell her who they are. Her characters take form on found-objects such as paintbrushes, saws, and vintage dresses, evoking the spirit of Roman-Egyptian mummy portraits. She says, “My dresses have a historical aspect. They contain images of women who persevered in their pursuits and endured the lives that they were dealt, some with great success, others with mixed results. I strive to show characters that are not mythologized, but rather as real women.” The artist’s website A video about the artist On Art and Aesthetics article |
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Collette Stefanko
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| Steve Eilenberg, Glacier Mountain, Antarctica, 2015. Color archival pigment print facemoumted on Plexiglass, 20" x 25". Steve Eilenberg is a San Diego-based photographic artist, one half of Aperture Photo Arts, along with his wife, Marie Tartar. They have been creating travel, street, nature, underwater, abstract, and manipulated photographic art for many years. Their photographic sojourns include far flung destinations, as well as the ground under their feet. Imaging is in their blood. Eilenberg’s photographic explorations extend from above (drone landscape photography) to below (underwater), and he has an affnity for street and x-ray photography. The artist’s website The Traveling Photographer: Off to Antarctica, a Photofocus article |
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Jay Bao
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| 135 Steve Eilenberg, Kelp Dance, 2019. Color archival pigment print facemoumted on Plexiglass, 32" x 24". “Kelp Dance is an homage to the 33 who died in a predawn fire aboard the MV Conception on September 2, 2019. The boat and all souls were lost on the very spot I stood just a couple weeks earlier, when this photograph was taken. It is a reminder to embrace fleeting beauty and wonder.” –Steve Eilenberg Steve Eilenberg is a San Diego-based photographic artist, one half of Aperture Photo Arts, along with his wife, Marie Tartar. They have been creating travel, street, nature, underwater, abstract, and manipulated photographic art for many years. Their photographic sojourns include far flung destinations, as well as the ground under their feet. Imaging is in their blood. Eilenberg’s photographic explorations extend from above (drone landscape photography) to below (underwater), and he has an affnity for street and x-ray photography. The artist’s website The Traveling Photographer: Off to Antarctica, a Photofocus article |
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Joan Bockman
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| Juan Flores, Twilight at Dog Beach, Del Mar, 2015. Acrylic on canvas, 20" x 20". “I started painting after I retired from city planning and my private practice as a land use consulting. I am self-taught. My art formation is the result of learning from other artists, reading biographies, and viewing artists’ works in museums across the country and abroad. Painting has been an adventure. At the onset, it was linked to my love of surfing and being out in the ocean. Then, it evolved into recapturing memories of my life in Venezuela, my travels, and experiences with people.” –Juan Flores The artist’s website Artist profile on Club of the Waves |
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Shelley Clark
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| Matt Forderer, Butterfly with Pancakes, 2019. Oil on canvas, 37" x 57". “This work is part of an ongoing series of placing different things in kind of realistically painted butterflies.” –Matt Forderer “I like to mix up outer space with inner space; undersea and above the sea, collage elements and patterns. It's nature with a psychedelic tint. Since moving to San Diego in 1986, I have found endless inspiration in the coastal region and desert as well as in all things nostalgic. In my work I am not trying to convey a specific message, rather I am trying to establish balance, to set the viewer at ease and encourage new thinking, contemplation, and mind expansion. We are living in amazing times. Social media and the internet have allowed artists of every genre to express themselves and share what they do, the result is amazing unfettered growth in every genre imaginable. I am inspired every day by what I am seeing, as well as the ever-changing nature around me.” –Matt Forderer The artist’s website Art Pulse San Diego Interview |
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Margie Newell
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| Matt Forderer, Fish and Birds, 2008. Oil and aerosol, 48" x 96. “My painting Fish and Birds was taken from a smaller collage of the same name. When I cut out pieces for a collage I typically have cutting sessions, so I am just cutting material that interests me with no goal in mind for how it will be used, then when I set out to make a collage much of the hard work is done, so I can assemble quickly. I typically have no real reason behind how I place collage elements, but by perhaps working quickly like this my life's experiences covertly influence my decisions. I grew up on Lake Erie in Michigan and have a great love of fish and birds of all kinds. I added the Folgers can as a random piece of pop culture. When I made the painting, I left the areas between the main elements loose, to allow the main elements to pop. This painting has a bit of interesting history as it has been out to the Burning Man Festival in the Black Rock Desert in 2008. I was in a large camp that requested artists to bring work. I knew that if I brought it I'd have to rig a system for it to endure high winds. I'd have to make carefully placed cuts to allow for wind to pass through. We were on the main street and the piece endured at least two full days of sand storms and extremely high winds. Later I patched the incisions and added extra texture on the piece to work with these cuts." –Matt Forderer “I like to mix up outer space with inner space; undersea and above the sea, collage elements and patterns. It's nature with a psychedelic tint. Since moving to San Diego in 1986, I have found endless inspiration in the coastal region and desert as well as in all things nostalgic. In my work I am not trying to convey a specific message, rather I am trying to establish balance, to set the viewer at ease and encourage new thinking, contemplation, and mind expansion. We are living in amazing times. Social media and the internet have allowed artists of every genre to express themselves and share what they do, the result is amazing unfettered growth in every genre imaginable. I am inspired every day by what I am seeing, as well as the ever-changing nature around me.” The artist’s website Art Pulse San Diego Interview |
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Deena Altman
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| Marco Franchina, Hyw 74, 2017. Digital photography on Archival Epson Premium Luster paper with museum glass, signed 1 of 10, 32.5" x 44.5". “My night work is photographed from 11:00pm to 4:00am. I call the process for my night photography 'getting lost'. I find it to be very spontaneous and frenetic which goes well with the outcome of my photos. This photograph in particular was taken in the early morning high in the mountains on Highway 74 near Idyllwild, California, through my car window. It was a foggy and drizzling morning. I slowed the car down to five miles an hour and continuously shot about 20 frames. This happens to be one of my favorite photos from my After Hours series.” –Marco Franchina Marco Franchina was born in Pisa, Italy and came to the States as the age of three. In 1982 at the age of 21, Franchina moved to Milan, Italy to begin his career as a fashion photographer. He was fortunate to study under legendary fashion photographers Avi Meroz, Fabrizio Ferri, and Peter Gravelle, whom he worked for as first assistant. In 1983 Franchina branched out on his own, photographing for prestigious Italian magazines. He then moved to New York City to shoot for Andy Warhol’s Interview magazine. In New York he was commissioned to photograph many high profile celebrities. He worked for top fashion magazines such as Harper’s Bazaar, Rolling Stone, Modern Bride, Shape, Seventeen, and SELF. In 1995 Franchina moved from NYC to Los Angeles to pursue his love for filem, working behind the camera on many music videos and commercials. Currently, he resides in Los Angeles working on and further experimenting with fine are photography. The artist’s website The artist’s Instagram |
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| Janine Free, Waiting in Vain, 2015. Photography face-mounted on plexi, 16" x 24". “Meet Monique, a high-fashion mannequin who used to wait in vain for some adventures inside a clothing shop in Saint Germain des Prés. Her dreams came true when French Street Photographer, Janine Free, captured her moody stance in a photograph for an art show, The Real Life of Mannequins, in California. There, she was joined by a lively group of mannequins from all over the world, as part of a series of photographs created by Janine. The technique involves photographing mannequins in store windows, cap- turing with a single shot the street scene reflected on the glass. The idea involves the investigation of how mannequins aspire to represent the ideal woman in different parts of the world. The spirit involves the ephemeral image that you see in fleeting moments that only the camera can freeze. Monique has had many pseudonyms: On a Vespa, Paris Noir, In the Vanity of my Solitude, to name a few. She now prefers to be called Waiting in Vain, and would love to come stay at your home. She might come alive and entertain you with stories of this Paris scene and its reflections.” –Janine Free “I was born and raised in France. As a child, I helped my father film and photograph the places we visited in Europe. At the age of 22 I moved to San Francisco in search of adventure and broader horizons. There, I learned the intricacies of the darkroom, assisting a fashion photographer develop and print black and white images. As a research librarian at QUALCOMM in San Diego, I became familiar with the electronic world, and developed an interest in digital photography. In 2008, I started a project documenting how women were represented in different countries through the mannequins displayed in store windows. It turned into an art project, as I used the reflections off the glass of the store, capturing surreal and multi-layered images. These images are unstaged and unaltered, in the true spirit of street photography.” –Janine Free The artist’s website The artist presented by RAW: San Diego |
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marilyn agredano
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| Jennifer Georgescu, Untitled #15 (1 of 10), from the Mother Series, signed, 2015. Digital archival print, 19" x 15". Jennifer Georgescu's work describes instinctual aspects of humanity correlating to and differing from societal structuring. With a background in painting and photographic arts, she utilizes medium format film photography, installation, and digital technology. Her projects analyze dualisms in language, relationships, mythologies and control. “I often search for the balance that exists in between these dichotomies. This is how I view humanity; always teetering on the line between fiction and reality, domination and submissiveness, self and other.” –Jennifer Georgescu The artist’s website About the artist from the William Male Foundation |
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| Angela Gonzalez, Para Todos Sale El Sol (The Sun Rises For All), 2019. Mixed media on canvas, 60" x 40". “In 2017, 2018 and 2019 I worked in art residencies in Oaxaca, Mexico and Belforte del Chienti, Italy. Usually when we travel we appreciate the culture, food, architecture, and urban planning that is new to us. However, behind the walls there are personal stories. Each residency was for one or two months each, this length of time gave me the opportunity to have a more personal relationship with different people. I heard amazing stories that otherwise would have been almost impossible to know.” –Angela Gonzalez Angela González is a dancer, painter, and cultural agent, born in Michoacán México currently living between San Diego, California, and Tijuana, B. C. México. At a very early age, she discovered her passion for dance and started her studies in classical ballet, later becoming a professional dancer. Given her passion for learning about other arts, in 1991 she obtained her certification in the reproduction of German and French porcelain dolls from the 17th and 18th century, and later earned her Master in Arts from the Doll Artisan Guild School of Dollmaking in Rochester, New York. The artist’s website |
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Shelley Clark
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| Becky Guttin, Black II, 2017. Mixed media, 45" x 41" x 12". Becky Guttin is an internationally exhibited artist who has been featured in 35 solo exhibitions and over 140 group shows. Guttin has been a guest lecturer all over the world. She has received seven art prizes, has participated in 17 international sculpture symposia, and in 14 art biennales. She has worked in numerous countries. Becky Guttin lives and works in San Diego, California. She has an independent studio where she continues to create sculpture, drawings, photography, installations, and video. The artist’s website La Playa Gallery studio visit La Jolla Light article |
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$1,200Min Bid
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| Becky Guttin, Necklace. Wood and silver, 7" diameter. Becky Guttin is an internationally exhibited artist who has been featured in 35 solo exhibitions and over 140 group shows. Guttin has been a guest lecturer all over the world. She has received seven art prizes, has participated in 17 international sculpture symposia, and in 14 art biennales. She has worked in numerous countries. Becky Guttin lives and works in San Diego, California. She has an independent studio where she continues to create sculpture, drawings, photography, installations, and video. The artist’s website La Playa Gallery studio visit La Jolla Light article |
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$100Min Bid
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| Becky Guttin, Necklace. Glass and silver, 6" diameter. Becky Guttin is an internationally exhibited artist who has been featured in 35 solo exhibitions and over 140 group shows. Guttin has been a guest lecturer all over the world. She has received seven art prizes, has participated in 17 international sculpture symposia, and in 14 art biennales. She has worked in numerous countries. Becky Guttin lives and works in San Diego, California. She has an independent studio where she continues to create sculpture, drawings, photography, installations, and video. The artist’s website La Playa Gallery studio visit La Jolla Light article |
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Richard Hamm
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| Becky Guttin, Bracelet and necklace. Black beads with tiger's eye, Necklace: 6.5" diameter, Bracelet: 3.5" diameter. The necklace and bracelet are sold as a set Becky Guttin is an internationally exhibited artist who has been featured in 35 solo exhibitions and over 140 group shows. Guttin has been a guest lecturer all over the world. She has received seven art prizes, has participated in 17 international sculpture symposia, and in 14 art biennales. She has worked in numerous countries. Becky Guttin lives and works in San Diego, California. She has an independent studio where she continues to create sculpture, drawings, photography, installations, and video. The artist’s website La Playa Gallery studio visit La Jolla Light article |
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| Becky Guttin, Necklace and earrings. Glass, Necklace: 6.5" diameter, Earrings 1.25" long. The necklace and bracelet are sold as a set Becky Guttin is an internationally exhibited artist who has been featured in 35 solo exhibitions and over 140 group shows. Guttin has been a guest lecturer all over the world. She has received seven art prizes, has participated in 17 international sculpture symposia, and in 14 art biennales. She has worked in numerous countries. Becky Guttin lives and works in San Diego, California. She has an independent studio where she continues to create sculpture, drawings, photography, installations, and video. The artist’s website La Playa Gallery studio visit La Jolla Light article |
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Francoise Dahod
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| Elaine Harvey, Dancing in the Dark, 2015. Watercolor on paper, 36" x 28". “This painting was created before an audience, where the paint was encouraged to suggest the flow of ocean water, by wetting and tipping and turning of the paper.” –Elaine Harvey The artist’s website |
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Gloria Hall
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| Adriene Hughes, BjorneOer #2, 2016. Digital image on Hahnemuhle archival pigment print, 16" x 24". “I traveled on an arctic expedition to photograph icebergs with a group of National Geographic photographers. I was the only 'fine art' photographer out of the group, and used a landscape prime lens versus the traditional powerful zoom lens. As they fired away their multiple shots I quietly composed myself, treated the icebergs like I was shooting a portrait, and manually focused my camera. I captured this iceberg in a single shot. The process was a quiet and contemplative act. I regarded the melting iceberg as I would any elder who deserved respect, focus, and 100% of my attention knowing all the while the arctic is at the helm of the global crisis.” –Adriene Hughes Adriene Hughes is a San Diego based fine art photographer with an MFA from The School of the Museum of Fine Arts, Boston, and Tufts University. She is a multi-media artist whose current body of work is based within the genre of grand landscape and the effects of global warming on the environment through the use of infrared technology, photography, and video installation. Hughes' photography has been exhibited nationally and internationally, including video installation at Venice Biennial at the Scuola Grande della Misericordia, and the Lishui International Photo Festival, China. She recently installed a 144 ft. large-scale photographic mural project at the San Diego International Airport, as well as an environmental infrared video installation of the Southern California landscape. The artist’s website Art + Science: Women and Earth: Adriene Hughes, a Lenscratch article |
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| Kevin Inman, Dumpsters, Golden Hill, 2017. Oil on canvas, 16"x 16". Kevin Inman was born in Honolulu in 1980 and grew up around the US and in Japan. He was educated in Spain and in Virginia. His work focuses on urban landscapes. The artist’s website SD Voyager interview |
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max borseth
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| Beliz Iristay, Cuatrodina, 2020. Cast plaster and aluminum on panel, 7.75" x 31". The artist’s website Our Immigrant Story: Beliz Iristay, video from the SD Union Tribune SD Union Tribune article Hugh Davies’ Expert Opinion video for this artwork |
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margaret jackson
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| Angela Jackson, Pupukea Memories, 2018. Acrylic, ricepaper, and local beeswax on panel, 36" x 36". “Pupukea Memories was inspired by the beauty of the ocean in the small community of Pupukea on the North Shore of Oahu, Hawaii. Because my husband is a surfer, we try to take a yearly surf trip, which is perfect for me to spend time studying and sketching the breathtaking waters of our world. I am inspired by the beauty and therapeutic aspects of the ocean and express that in my acrylic paintings. This piece is created on wood panel and has a natural beeswax finish, which acts like a varnish and also mimics surf wax on a surfboard.” –Angela Jackson Angela Jackson is a mixed media artist and art educator who has exhibited in many group and solo shows throughout the United States. She is inspired by the beauty and therapeutic aspects of the ocean, which are expressed in her paintings. Originally from Pennsylvania, Jackson grew up two blocks from the Susquehanna River and she has felt the need to live close in proximity to water ever since. Her understanding of our attraction to bodies of water was reinforced reading Dr. Wallace J. Nichols’ book, Blue Mind, in which he discusses the neuroscience behind our connection to all things water. Now living in Cardiff, she enjoys daily walks on the beach and absorbing all the sights, sounds, and smells of the Pacific Ocean. The artist’s website Video blurb from the artist about this artwork |
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Steve Grier
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| Kate Joiner, Happy Ending, 2018. Acrylic on canvas, 36" x 36". “As a native Californian, I am concerned with the development and destruction of my coastal community. Using unobstructed nature as a base point, I add figures, objects, and architectural lines. The unmitigated range in my work is a statement of my observations, broken down into the sections of my personality, and depicted in series’ as I travel back and forth in thought, allowing these varied interests to coexist in my art.” The artist’s website Video blurb from the artist about this artwork SD Voyager interview |
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marilyn agredano
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| Kate Joiner, Remains to be Seen, 2018. Acrylic on canvas, 50" x 62". “As a native Californian, I am concerned with the development and destruction of my coastal community. Using unobstructed nature as a base point, I add figures, objects, and architectural lines. The unmitigated range in my work is a statement of my observations, broken down into the sections of my personality, and depicted in series’ as I travel back and forth in thought, allowing these varied interests to coexist in my art.” The artist’s website Video blurb from the artist about this artwork SD Voyager interview |
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| Kirby Kendrick, Bolero, 2019. Acrylic on canvas, 8" x 8". The artist’s website The artist’s Instagram |
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Gigi Woodward
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| Kirby Kendrick, Cover Up, 2019. Acrylic and stencil on canvas, 16" x 20". The artist’s website The artist’s Instagram |
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Tina Blumenfeld
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| Kirby Kendrick, Young Frida, 2019. Acrylic on canvas, 8" x 8". “Twenty-five years ago I was diagnosed with breast cancer. While still in the hospital a friend gave me a box of crayolas and a sketch book–and the odyssey into art began! Today, after three years of classical art training in New York and working from my studios in San Diego and Santa Fe, New Mexico, I am exploring the realms of abstract art, installation art, and video. Because of this experience I have always identified with Frida and her determination to be an artist. This oil painting was made to honor Frida Kahlo.” –Kirby Kendrick The artist’s website The artist’s Instagram |
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NANCY SPIECZNY
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| Brian Kesinger, Tea Girls: Garden Party, 2012. Tea, ink, and watercolor on paper, 24.75" x 21.75". Brian Kesinger is an American illustrator, author and animator who has worked at Walt Disney Studios for 20+ years. His works are steeped in Victorian steampunk art. Brian Kesinger was raised on a steady diet of Walt Disney creations by parents who felt it important for him to be exposed to art. He was accepted at the Walt Disney Animation Studios in Burbank, California, during his senior year at high school, becoming in 1996 at age 18 the youngest animator in the history of the company. Away from his office he has created fantasy steampunk worlds peopled with memorable characters under the banner of Tea Girls, illustrations using tea-stain washes and finished in ink and watercolours, including a portrait of steampunk chanteuse Veronique Chevalier. The artist’s website The artist’s 2019 OMA Exhibition An interview with the artist The artist leading a tour of his OMA exhibition (Tea Girls at 3:37) |
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Daniel Campbell
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| Debby and Larry Kline, Be Nice, 2019. Inkjet print, edition of 5, 25.25" x 34.5". “So the Klines can be regarded as political artists, not in the dismal sense of advocating or lamenting one political policy or another, but of outrageously modeling discrepancies in our understandings of political situations. So they are hilarious political artists in the manner of Aristo-phanes rather than Brecht.” –David Antin writing for the 2013 San Diego Art Prize The artists’ website La Jolla Light article Hear from the artists with an in-depth description of the inspirations behind this artwork |
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| J. J. L'Heureux, Clementini, 1997. Ink jet print and collage with thread, edition of 40, 22" x 20". “Clementini is part of my Etichette series. Etichette is the Italian word for ‘labels’. My Etichette series incorporates fruit and cheese labels in the construction of collages. The first Etichette collage was made as a gift with the favorite fruit and cheese labels of an Italian host with whom I had stayed in Venice. The series also incorporates a connecting element when I produced the Woman’s Work series, works on paper that contained forests of knotted thread. The thread knots provided the main ‘nail down’ for the Italian labels.” –J. J. L'Heureux “My Etichette Series utilizes many famous old style Italian cheese labels such as Gorgonzola, Mozzarella, Bel Paiese and other kinds of Italian cheeses. I like the designs, attractiveness, and information of these older labels as the modern replacement labels are mostly generic and contemporary in an abstract sense. Modern commercial art cheese labels in Italy have moved through the public market like a plague leaving plastic wrappers where special paper and unique art once lived. As these older labels began disappearing they became the focus of some collectors who recognized an art form was being replaced with meaningless plastic that left only the name and food values of a cheese. My idea was to recontextualize elements of these labels as motifs in a colorful, almost Pop Art collages, which attempt to capture the essence of this passing agrarian world.” –J.J. L’Heureux J.J. L’Heureux’s studio is located in Venice, California. L’Heureux studied at the San Francisco Art Institute, San Francisco, California, the Academy of Art, San Francisco, California, Parsons School of Design, New York, New York, and Eastern Michigan University, Ypsilanti, Michigan. The artist’s website More from this series |
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| Kurt Lightfoot, Lone Bench, 2019. Interpretive digital photography, 18" x 22". This image is framed in a simple matte black finished wooded frame with IR protective non-reflective glass. A signed Certificate of Authenticity is in an envelope on the back dust cover and includes the following descriptive information: Photography based digital art, multi-layer digital image processing, Kodak ENDURA Lustre “E” photographic print, lustre protective coating, laminated to 2mm styrene backing. “The words of Geoff Dyer from The Ongoing Moment inspired my photograph, describing when a bench is more than a bench: ‘A chair can adapt itself to its environment; a bench weathers the storm, takes whatever life throws at it. Its view of the world is fixed, determined, stubbornly opposed to change yet powerless to resist it. There is often a sense that the benches themselves are spectators, looking on at the passing human trade. Whatever happens they have see it all before—even things they're seeing for the first time. Not that the mood of a bench is always the same. No, like anything that spends its days outdoors, the bench has its seasons, its moments in the sun.‘ ” –Kurt Lightfoot Kurt Lightfoot is a digital photographer from North County San Diego. His overarching approach is to employ our shared visual literacy to communicate emotive narrative and interpretive themes. His mission is to create images and projects that have significant meaning to the viewer. This goal is informed by Ansel Adams' famous assertion, “There are always two people in every picture: the photographer and the viewer,” and Rocky Schenck's, “To me, a photograph exists for the observer, not the creator.” The artist’s website |
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| Kurt Lightfoot, Overlook Bench, 2019. Interpretive digital photography, 22" x 18". This image is framed in a simple matte black finished wooded frame with IR protective non-reflective glass. A signed Certificate of Authenticity is in an envelope on the back dust cover and includes the following descriptive information: Photography based digital art, multi-layer digital image processing, Kodak ENDURA Lustre “E” photographic print, lustre protective coating, laminated to 2mm styrene backing. “The words of Geoff Dyer from The Ongoing Moment inspired my photograph, describing when a bench is more than a bench: ‘A chair can adapt itself to its environment; a bench weathers the storm, takes whatever life throws at it. Its view of the world is fixed, determined, stubbornly opposed to change yet powerless to resist it. There is often a sense that the benches themselves are spectators, looking on at the passing human trade. Whatever happens they have see it all before—even things they're seeing for the first time. Not that the mood of a bench is always the same. No, like anything that spends its days outdoors, the bench has its seasons, its moments in the sun.‘” –Kurt Lightfoot Kurt Lightfoot is a digital photographer from North County San Diego. His overarching approach is to employ our shared visual literacy to communicate emotive narrative and interpretive themes. His mission is to create images and projects that have significant meaning to the viewer. This goal is informed by Ansel Adams' famous assertion, “There are always two people in every picture: the photographer and the viewer,” and Rocky Schenck's, “To me, a photograph exists for the observer, not the creator.” The artist’s website |
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Francoise Dahod
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| John Linthurst, No Rodeo, 2012. Digital collage and paper inserts, 39" x 27". "This is sort of funny: One afternoon I dressed my girlfriend up in cowboy gear and we pursued live action shots in various downtown Oceanside alleys. We kept the truck running because inevitably, homeless film directors and long toothed movie stars would wander forward with edgy pointers and recitals of devastated fame, too. Snap Snap Snap. Into the truck. Onto the next. I thought about that a week later when visiting the county fair. We had hiked from an overflow dirt lot and had trouble finding an entrance. Snap Snap Snap. Later I married the two frames. No Rodeo." John Linthurst’s art incorporates a crossover of traditional photographic technique into a collage of additional elements to re-master a reality. The idea is to create stories and character, and not necessarily to document them. The result at times may be surreal, even chaotic - and often include multiple mixed media elements. Linthurst prefers a contrarian application of photo technique. The more he can disrupt a ‘time and space document’, the better chance for defining a new reality from it. A manufactured reality, often consisting of dozens of inserts, layers, text, pencil, newsprint, paint, and once, insects. The artist’s website |
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Margie Newell
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| John Linthurst, Oceanside Alley #1379, 2019. Digital collage and paper inserts, 39" x 28". “In the wet winter of 2018, I noted how the city’s alleys took on a unique vibrancy, an artistic bow of sorts when fed plenty of storm water. So, I became a storm chaser of sorts, and documented dozens of alleys in this interesting wet reveal. Blossoming with reflections, and joyful with color - the alleys welcomed this natural cleansing! Surely? Thinking like an alley, and how an alley celebrates - is the rational madness that helps an artist get on top of projects like this.” –John Linthurst John Linthurst’s art incorporates a crossover of traditional photographic technique into a collage of additional elements to re-master a reality. The idea is to create stories and character, and not necessarily to document them. The result at times may be surreal, even chaotic–and often include multiple mixed media elements. Linthurst prefers a contrarian application of photo technique. The more he can disrupt a ‘time and space document’, the better chance for defining a new reality from it. A manufactured reality, often consisting of dozens of inserts, layers, text, pencil, newsprint, paint, and once, insects. The artist’s website |
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Margie Newell
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| Trinh Mai, Mẹ Ơi (Dear Mother), 2019. Hand embroidery and ink on paper, 6.5" x 6.5". “This piece is No. 18 from the Mẹ Ơi collection, a series of 36 small works of paper that hearken unto the mother. The series was inspired by the time shared between my grandmother and my mother during the last days of my grandmother’s life. As I witnessed this intimate moment between mother and mother, daughter and daughter, I ruminated on the expansive love that they had for one another—this deep love that rendered them the might to carry such overbearing weight for one another—the nine months that sustained a hope to bring life and light into our lamenting world, and the boundless sacrifices that followed thereafter. I thought about how the roles can shift as we children shoulder the burdens for our mothers out of this same inherited sense of devotion—this promise of a love that does not boast as sacrifices made remain unseen and unheard. In black ink, this piece pulls from the fluid movement of traditional Vietnamese calligraphy. It reads, Mẹ Ơi, or Dear Mother, bound and tangled by a lifeline/bloodline, hand-embroidered cord that is often introduced in my work. These works speak on the burden that mothers carry for their children, and the afflictions that their children, in turn, carry for them.” –Trinh Mai Trinh Mai is an interdisciplinary, California-based artist who studied at San Jose State University and UCLA. She has exhibited her work with leading institutions such as the Smithsonian Asian Pacific American Center and the Naples Museum of Art. Recognizing the role of art to educate and heal, Mai has exhibited in support of humanitarian groups, including the Friends of Hue Foundation Children's Shelter in Vietnam and the Angkor Hospital for Children in Cambodia. Seeking hope within humanity’s incessant struggle in war and hardship, she has partnered San Diego Art Institute, the International Rescue Committee, MiraCosta College, and Oceanside Museum of Art in developing projects that honor home, heritage, history, and healing for survivors of war and refugee communities from Southeast Asia, the Middle East, and Africa. The artist’s website The artist's 2016 OMA exhibition Further images from the 2016 exhibition The artist’s 2017 OMA exhibition |
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Gisela Hill
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| Rafael Mareyna-FALLO, Hack, 2019. Acrylic on hardboard, 24" x 32". More of the artist’s work Article and review of the artist’s recent work La Jolla Light article |
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| Rafael Mareyna-FALLO, Milky Way, 2019. Acrylic on hardboard, 31" x 47". More of the artist’s work Article and review of the artist’s recent work La Jolla Light article |
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| Dan McStocker, Cow Skull, 2017. Blown and sculpted glass, 23" x 11" x 4.5". Dan McStocker is a California native glass artist who resides and works in Oceanside, California. First introduced to molten glass at 10 years old while visiting a renaissance fair, he has been fixated ever since. Dan has been working with molten glass since 2004, making a variety of blown and solid sculpted pieces. Always looking for a new challenge, Dan has studied under a variety of industry leading glass artists from around the world and incorporates skills learned into his current works. He enjoys the outdoors, nature, and observing wildlife, which he uses for inspiration for future projects. The artist’s website Glass blowing demonstration: Cow Horns |
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| Dan McStocker, Dunkin Donut: Chocolate, 2018. Blown, sculpted, and hot assembled glass, 3" x 7" x 7". Dan McStocker is a California native glass artist who resides and works in Oceanside, California. First introduced to molten glass at 10 years old while visiting a renaissance fair, he has been fixated ever since. Dan has been working with molten glass since 2004, making a variety of blown and solid sculpted pieces. Always looking for a new challenge, Dan has studied under a variety of industry leading glass artists from around the world and incorporates skills learned into his current works. He enjoys the outdoors, nature, and observing wildlife, which he uses for inspiration for future projects. The artist’s website Glass blowing demonstration: Cow Horns |
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Alan Zeleznikar
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| Dan McStocker, Sea Turtle, 2017. Blown, sculpted, and hot assembled glass, 16" x 14" x 4". Dan McStocker is a California native glass artist who resides and works in Oceanside, California. First introduced to molten glass at 10 years old while visiting a renaissance fair, he has been fixated ever since. Dan has been working with molten glass since 2004, making a variety of blown and solid sculpted pieces. Always looking for a new challenge, Dan has studied under a variety of industry leading glass artists from around the world and incorporates skills learned into his current works. He enjoys the outdoors, nature, and observing wildlife, which he uses for inspiration for future projects. The artist’s website Glass blowing demonstration: Cow Horns |
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Richard Hamm
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| Beata Edyta Mierzwa, Molecular Galaxy, 2017. Acrylic prints of pencil drawing digitally colorized, 20" x 30" each. “To carry out diverse biological functions, every single cell within our bodies contains a vast network of interactions between molecules, resembling intricate constellations in the night sky. This cell-shaped network highlights diverse cellular structures, like mitochondria 'the powerhouse of the cell', the cell membrane, as well as the nucleus that holds the DNA.” –Beata Edyta Mierzwa Beata Edyta Mierzwa, PhD, is a molecular biologist and an artist. Her curiosity about the wonders of life inspired her to pursue a career in research, and spending time behind the microscope made her appreciate the beauty of biology. She discovered that combining her passions for science and art creates a unique way to communicate scientific concepts. Beata’s illustrations focus on the molecular level, showing processes that make all life possible. Each artwork breaks down the essence of complex scientific findings, translating them into aesthetic visuals that describe biological processes in intuitive ways. Her work aims to transform scientific communication, inspire a future generation of scientists, and spark curiosity and wonder. The artist’s website Video blurb from the artist about this artwork Journal of Cell Biology: Interview with the artist |
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BARBARA FREEMAN
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| Beata Edyta Mierzwa, Chromosome Segregation, 2017. Acrylic prints of pencil drawing digitally colorized, 20" x 30" each. “This drawing illustrates how our chromosomes are segregated during cell division–a fundamental process that has fascinated scientists for centuries. To ensure that each daughter cell receives the correct set of chromosomes the cell assembles a structure called the mitotic spindle, illustrated by the ropes, which pulls the chromosomes towards the opposite poles. This process is incredibly complex, but having the correct amount of DNA is absolutely essential for all organisms. Chromosome segregation errors are a hallmark of cancer, and therefore studying this process has been invaluable for cancer research.” –Beata Edyta Mierzwa Beata Edyta Mierzwa, PhD, is a molecular biologist and an artist. Her curiosity about the wonders of life inspired her to pursue a career in research, and spending time behind the microscope made her appreciate the beauty of biology. She discovered that combining her passions for science and art creates a unique way to communicate scientific concepts. Beata’s illustrations focus on the molecular level, showing processes that make all life possible. Each artwork breaks down the essence of complex scientific findings, translating them into aesthetic visuals that describe biological processes in intuitive ways. Her work aims to transform scientific communication, inspire a future generation of scientists, and spark curiosity and wonder. The artist’s website Video blurb from the artist about this artwork Journal of Cell Biology: Interview with the artist |
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Pam Smith
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| Beata Edyta Mierzwa, The Final Cut, 2017. Acrylic prints of pencil drawing digitally colorized, 20" x 30" each. “In the final step of cell division, the bridge connecting the cells is cut in a process called cytokinetic abscission, giving rise to two separate daughter cells. This hand-drawn illustration is overlaid with real microscopy images of a human cell, with the blue DNA carrying the genetic information and the green microtubules giving shape to the cell–a combination that quite literally fuses science and art!” –Beata Edyta Mierzwa Beata Edyta Mierzwa, PhD, is a molecular biologist and an artist. Her curiosity about the wonders of life inspired her to pursue a career in research, and spending time behind the microscope made her appreciate the beauty of biology. She discovered that combining her passions for science and art creates a unique way to communicate scientific concepts. Beata’s illustrations focus on the molecular level, showing processes that make all life possible. Each artwork breaks down the essence of complex scientific findings, translating them into aesthetic visuals that describe biological processes in intuitive ways. Her work aims to transform scientific communication, inspire a future generation of scientists, and spark curiosity and wonder. The artist’s website Video blurb from the artist about this artwork Journal of Cell Biology: Interview with the artist |
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Terri Zimdars
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| Yevgeniya Mikhailik, Arms, 2019. Ink and wax pastel on paper, 12" x 9". “These two drawings are part of a larger series of works created for my exhibition A Slow Conflict with the CSUF Grand Central Art Center in February 2019. The series focuses on the parallels between geological events and personal-scale changes as experienced by an individual or a group, and aims to evoke empathy towards the evolving natural environment in the same way we empathize with each other. It asks the viewer to imagine engaging with the real landscape as intimately and intensely as we do with ourselves and other human beings, to experience the natural world slowly by being present and attentive, to attempt to understand its processes, and to observe the ways in which our involvement in and disruption of the environment has a lasting effect.” –Yevgeniya Mikhailik Yevgeniya Mikhailik is an artist, educator, and curator based in Orange County, California. In her studio practice she explores the enduring physical and emotional connection between people and the natural world, our methods of interpreting it and identifying with it, and how both the natural and the built environment shape us. The artist’s website Video about the artist KCET article The Otherworldly Works of Yevgeniya Mikhailik |
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| Yevgeniya Mikhailik, Still, 2019. Watercolor, ink, and wax pastel on paper, 12" x 9". “These two drawings are part of a larger series of works created for my exhibition A Slow Conflict with the CSUF Grand Central Art Center in February 2019. The series focuses on the parallels between geological events and personal-scale changes as experienced by an individual or a group, and aims to evoke empathy towards the evolving natural environment in the same way we empathize with each other. It asks the viewer to imagine engaging with the real landscape as intimately and intensely as we do with ourselves and other human beings, to experience the natural world slowly by being present and attentive, to attempt to understand its processes, and to observe the ways in which our involvement in and disruption of the environment has a lasting effect.” –Yevgeniya Mikhailik Yevgeniya Mikhailik is an artist, educator, and curator based in Orange County, California. In her studio practice she explores the enduring physical and emotional connection between people and the natural world, our methods of interpreting it and identifying with it, and how both the natural and the built environment shape us. The artist’s website Video about the artist KCET article The Otherworldly Works of Yevgeniya Mikhailik |
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Gloria Hall
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| David Milton, Classic Airstream 5, 2018. Watercolor, 21" x 25". “I have devoted most of my career to finding and documenting classic and vanishing landmarks of twentieth-century America. Airstream trailers are a particular favorite subject because the reflections are challenging to capture and they express a visual story beyond what is within the picture frame.” –David Milton The artist’s website Video about the artist Laguna Beach Independent article |
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| David Milton, Classic Airstream 3, 2018. Watercolor, 21" x 25". “I have devoted most of my career to finding and documenting classic and vanishing landmarks of twentieth-century America. Airstream trailers are a particular favorite subject because the reflections are challenging to capture and they express a visual story beyond what is within the picture frame.” –David Milton The artist’s website Video about the artist Laguna Beach Independent article |
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| Maidy Morhous, 5 Second Rule sculpture, 2019. PLA plastic wit acrylic painted clear coat, 11" x 30" x 23". “This ice cream cone is larger than life! Who hasn't picked up a piece of dropped food from the floor, given it a quick blow and assumed it was still safe to eat? To many of us, it is second nature to apply the age-old pseudo-scientific 'five second rule' on such occasions, telling ourselves we're safe if the food hit the floor only momentarily. Strange as it may seem scientists have finally investigated the theory to discover whether the rule is fact or fiction. The findings support fast pick up, salty foods containing far less bacteria, keep floors mopped clean, and best to not pick up in public areas. We needed a scientific study to tell us that!” –Maidy Morhous An accomplished printmaker and painter as well as sculptor, Maidy Morhous was born in New York and currently creates out of her studio thirty minutes north of San Diego. Morhous received her Master of Fine Arts degree while studying at Stanley Hayter’s Atelier 17 in Paris in the mid-1970s. Before returning to the States, she then traveled to Italy to further her studies in casting techniques at the Fonderia Artistica–Marinelli Foundry in Florence. Morhous expresses herself through the medium of bronze, which allows her to portray extremes, from the soft flow of water to the harsh asphalt pavement of our world. Her work encompasses the pop art concept of presenting commonplace objects as fine art. It is meant to engage viewers and to allow them to contemplate and pull from within, to disengage for a moment from the outside world. The artist’s website The artist’s #IsolationInspiration The artist’s 2018 OMA Exhibition |
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| Maidy Morhous, Fenceposts #2, 2018. Oil on canvas, 30" x 30". “Hidden in our dreams are windows to our soul with fenceposts to hold our thoughts and dreams from scattering. Black voids for us to fill with a lifetime of experiences and skies that allow our thoughts to wander.” –Maidy Morhous An accomplished printmaker and painter as well as sculptor, Maidy Morhous was born in New York and currently creates out of her studio thirty minutes north of San Diego. Morhous received her Master of Fine Arts degree while studying at Stanley Hayter’s Atelier 17 in Paris in the mid-1970s. Before returning to the States, she then traveled to Italy to further her studies in casting techniques at the Fonderia Artistica–Marinelli Foundry in Florence. Morhous expresses herself through the medium of bronze, which allows her to portray extremes, from the soft flow of water to the harsh asphalt pavement of our world. Her work encompasses the pop art concept of presenting commonplace objects as fine art. It is meant to engage viewers and to allow them to contemplate and pull from within, to disengage for a moment from the outside world. The artist’s website The artist’s #IsolationInspiration The artist’s 2018 OMA Exhibition |
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max borseth
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| Allan Morrow, Baja 16-B2, 2016. Watercolor and mixed media on paper, 18" x 21". “I’ve drawn my whole life. As a kid, my friends and I would raid a printing company’s dumpster for paper. Once home we would draw, mostly cars and spaceships. It was great fun. I loved using my imagination to bring a mental idea to a visually physical one. To take an idea, thought, or experience, and express it on paper, canvas or any material that would help bring that thought into reality. While in college I focused on learning to use color and to apply different materials, methods and techniques to express all the ideas in my head. Drawing, painting, printmaking, collage and sculpture were all investigated. I borrowed from artists like Matisse, Rauschenberg, Mark Toby, Cy Twombly, Jackson Pollock and Franz Kline to help express myself.” –Allan Morrow The artist’s upcoming OMA Exhibition SD Union Tribune article |
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Allan Morrow
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| Rebecca Nebert, Connect/Contact, 2017. Acrylic on canvas, 80.5" x 64". “This abstract piece is formidable at nearly seven feet by nearly five and a half feet. With my art, I most enjoy the feeling of being absorbed into the environment–so it must be large! Inspired by microbiology, much of my work explores a narrative of organisms. I began this painting as a college student in art school, then let it sit because I just couldn’t figure out how to finish it. Finally 10 years later, I saw a vision of how it was supposed to look and completed it. The most fun part was the white shape which was made by covering myself in paint and lying down on the canvas!” –Rebecca Nebert “Nature and biology are vital themes for me because they represent the mystery and beauty of life. My inspiration originates from my love of observing forms, color, and surfaces of the human body, sea creatures, microbiology, and other natural formations. I am interested in creating environments in which a variety of organic forms or organisms interact in lushly, energetically painted spaces. Dynamic color and spatial relationships are essential in conveying a mood or story in the interaction of forms for each piece. Monumentality in scale as well as the physicality of the materials is important to my paintings; working mainly on the floor, I can become surrounded by the paintings in order to fully experience them.” –Rebecca Nebert The artist’s website The artist’s Instagram |
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| Rebecca Nebert, Orb/it, 2015. Acrylic, ink, and sand on wood, 45" x 30". "For this abstract work on wood, I was dreaming about planetary formations and structures. The background was first established using a sand and paint wash (with a binding medium), so it’s not only textured, but feels as though it’s made up of millions of stars! Using luxurious metallic paints, I created a few orbs or ‘planets’, scattered throughout the layers of ‘nebula’. However, the flat black shapes were the most enjoyable to fit together, and ended up resembling an asteroid belt. I had fun thinking of a title for this one." –Rebecca Nebert “Nature and biology are vital themes for me because they represent the mystery and beauty of life. My inspiration originates from my love of observing forms, color, and surfaces of the human body, sea creatures, microbiology, and other natural formations. I am interested in creating environments in which a variety of organic forms or organisms interact in lushly, energetically painted spaces. Dynamic color and spatial relationships are essential in conveying a mood or story in the interaction of forms for each piece. Monumentality in scale as well as the physicality of the materials is important to my paintings; working mainly on the floor, I can become surrounded by the paintings in order to fully experience them.” –Rebecca Nebert The artist’s website The artist’s Instagram |
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| Rebecca Nebert, Seed, 2016. Acrylic, shells, stones, and glass on wood, 36" x 36". “There’s a lot going on here – no wonder it was accepted and displayed at Burning Man’s Center Camp in 2019! From the found objects like shell and rock, to the constellation of Ophiuchus in the upper right (and the faux constellation I invented on the left side). But my two favorite aspects are the wood grain, which I traced and filled in with paint over the entire piece of wood as my first step to bring out its interesting shapes, and the large green and white form, which was actually inspired by a cross-section of a tooth!” –Rebecca Nebert “Nature and biology are vital themes for me because they represent the mystery and beauty of life. My inspiration originates from my love of observing forms, color, and surfaces of the human body, sea creatures, microbiology, and other natural formations. I am interested in creating environments in which a variety of organic forms or organisms interact in lushly, energetically painted spaces. Dynamic color and spatial relationships are essential in conveying a mood or story in the interaction of forms for each piece. Monumentality in scale as well as the physicality of the materials is important to my paintings; working mainly on the floor, I can become surrounded by the paintings in order to fully experience them.” –Rebecca Nebert The artist’s website The artist’s Instagram |
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| Annalise Neil, Antic, 2015. Watercolor, 14" x 20". “Lots of percussion, and sound on display. This is an intimate corporeal space which is dictated by an unknown, preselected set of rules. Within that framework is a miasma of insertions, extractions, and mutations.” –Annalise Neil Annalise Neil lives and works in San Diego, California. She has studied myriad making techniques, including photography, ceramics, jewelry, weaving, basket making, painting, drawing, sculpture, wood working, and all forms of printmaking. In 2006, she received a BFA in Printmaking from the College of Saint Rose in Albany, NY, with a minor in Art History (summa cum laude). This program gave her a strong technical and image planning foundation, along with a penchant for delicate mark-making. With a history that also includes the creation of large-scale civic murals, product and packaging campaigns for retail companies, and teaching, her current work is more intimate in nature and delves into the inner workings of our human psyche. Neil considers herself a visual philosopher, and makes art in order to better understand the fundamental nature of reality and existence. The artist’s website OMA’s SmallTalk artist panel webinar The artist’s Instagram |
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| Annalise Neil, Lineage, 2015. Watercolor, 20" x 14". “When things begin—an idea, a process, a phase of life—there are new or atrophied muscles called into play, and there is stress in this process of growing. Some things tilt and slide, some things are sacrificed, untouched terrain is made to open. Here is a reverie on genesis, and it's requisite violence—sometimes innocent, often necessary.” –Annalise Neil Annalise Neil lives and works in San Diego, California. She has studied myriad making techniques, including photography, ceramics, jewelry, weaving, basket making, painting, drawing, sculpture, wood working, and all forms of printmaking. In 2006, she received a BFA in Printmaking from the College of Saint Rose in Albany, NY, with a minor in Art History (summa cum laude). This program gave her a strong technical and image planning foundation, along with a penchant for delicate mark-making. With a history that also includes the creation of large-scale civic murals, product and packaging campaigns for retail companies, and teaching, her current work is more intimate in nature and delves into the inner workings of our human psyche. Neil considers herself a visual philosopher, and makes art in order to better understand the fundamental nature of reality and existence. The artist’s website OMA’s SmallTalk artist panel webinar The artist’s Instagram |
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| Annalise Neil, Switchover, 2015. Watercolor, 11" x 9.5". “An exploration of potential, with its seeming chaos and elegant order: eggs, seeds, bulbs. And then the next action: sprouts, things emerging. There are eyes watching the splendor of this warm fecundity, it’s a participatory scene. This is painted on my favorite paper from Japan, called Shinkashi Mohachi. I love how the paint glows on it.” –Annalise Neil Annalise Neil lives and works in San Diego, California. She has studied myriad making techniques, including photography, ceramics, jewelry, weaving, basket making, painting, drawing, sculpture, wood working, and all forms of printmaking. In 2006, she received a BFA in Printmaking from the College of Saint Rose in Albany, NY, with a minor in Art History (summa cum laude). This program gave her a strong technical and image planning foundation, along with a penchant for delicate mark-making. With a history that also includes the creation of large-scale civic murals, product and packaging campaigns for retail companies, and teaching, her current work is more intimate in nature and delves into the inner workings of our human psyche. Neil considers herself a visual philosopher, and makes art in order to better understand the fundamental nature of reality and existence. The artist’s website OMA’s SmallTalk artist panel webinar The artist’s Instagram |
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| George Papciak, High Desert Near Ranchita, 2018. Oil on canvas, 36" x 36". The artsit’s website The artist’s Instagram |
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Deena Altman
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| George Papciak, I Am Not a Criminal, I'm Amada, 2018. Oil on canvas, 30" x 24". “I met Amada 37 years ago when she was 86. She was one of the pioneers of Baja California Sur who received land from the government and had one of the only adobe homes in the little village of Pescadero. Her farm extended down to the ocean. At the time all the roads were still dirt to get to Pescadero from Todo Santos. In the painting she is in her outdoor kitchen preparing masa for making corn tortillas . While we were there she sent her 65 year-old son to the butcher for fresh liver as a cow had just been slaughtered for the village. She made us liver and onions, papas (potatoes), rice, and fresh tortillas. She cooked the meal in her outdoor kitchen on an old adobe wood burning stove. What a memory for me. The painting was an attempt to make it permanent.” –George Papciak The artsit’s website The artist’s Instagram |
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Adrianne Hakess
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| Marcos Ramírez ERRE, Eye Chart: Sitting Bull, 2019. Archival Inkjet print on archival matte paper, edition of 5, 36" x 24". “Here is a description of the Eye Chart series, which is based originally on a series of automotive quality painted graphic designed works. So far there are 35 different works. There is one original and five prints of each. Copies of the two in OMA’s auction are also in my most recent major show at Mass MoCA currently on view, THEM & US / ELLOS Y NOSOTROS. This series tries to assess the sharpness of comprehension by correctly identifying the messages displayed as the Snellen eye chart, which is used to measure visual acuity. Each painting or printed design has a specific quote from different authors, in which the lettering becomes smaller as the quote is completed. Each quote is chosen by its ideological alignment and tries to compel the viewer to assume a position, and to question his or her own alignment in relation to the significance of the quote.” –Marcos Ramírez ERRE Born in Mexico and resident in the U.S., Marcos Ramírez ERRE’s work is informed by a profound understanding of border culture. He explores issues of identity, race, culture, and community in a wide range of mediums, frequently delivering biting commentary. For Toy An Horse (1997), Ramirez built a two-headed metal and wooden horse, a reference to the Trojan Horse, and placed it at the U.S.-Mexico border between Tijuana and San Diego so that it looked north and south. “Instead of feeling half Mexican and half American, I feel double,” he has said. For ICE TOWER (2008), Ramirez installed a video camera on the rooftop of Estación Tijuana, an arts venue and social space founded by the artist, which delivers a live feed to the Orange County Museum of Art of the barbed-wire fence that marks the border. The artist’s website LA Times article A Border Wall Rises in Oceanside LASS Interview Hugh Davies’ Expert Opinion video for this artwork |
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| Marcos Ramírez ERRE, Eye Chart: Thomas Jefferson, 2019. Archival Inkjet print on archival matte paper, edition of 5, 36" x 24". “Here is a description of the Eye Chart series, which is based originally on a series of automotive quality painted graphic designed works. So far there are 35 different works. There is one original and five prints of each. Copies of the two in OMA’s auction are also in my most recent major show at Mass MoCA currently on view, THEM & US / ELLOS Y NOSOTROS. This series tries to assess the sharpness of comprehension by correctly identifying the messages displayed as the Snellen eye chart, which is used to measure visual acuity. Each painting or printed design has a specific quote from different authors, in which the lettering becomes smaller as the quote is completed. Each quote is chosen by its ideological alignment and tries to compel the viewer to assume a position, and to question his or her own alignment in relation to the significance of the quote.” –Marcos Ramírez ERRE Born in Mexico and resident in the U.S., Marcos Ramírez ERRE’s work is informed by a profound understanding of border culture. He explores issues of identity, race, culture, and community in a wide range of mediums, frequently delivering biting commentary. For Toy An Horse (1997), Ramirez built a two-headed metal and wooden horse, a reference to the Trojan Horse, and placed it at the U.S.-Mexico border between Tijuana and San Diego so that it looked north and south. “Instead of feeling half Mexican and half American, I feel double,” he has said. For ICE TOWER (2008), Ramirez installed a video camera on the rooftop of Estación Tijuana, an arts venue and social space founded by the artist, which delivers a live feed to the Orange County Museum of Art of the barbed-wire fence that marks the border. The artist’s website LA Times article A Border Wall Rises in Oceanside LASS Interview Hugh Davies’ Expert Opinion video for this artwork |
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| Becky Robbins, Pale Blue Dot, 2018. Framed print of oil on panel, 48" x 48". The artist’s website Interview with Colour In Your Life La Jolla Light article |
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| Becky Robbins, Revolution of Consciousness, 2018. Framed print of oil on panel, 48" x 48". The artist’s website Interview with Colour In Your Life La Jolla Light article |
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| Colin Roberts, Holograph Pillow, 2019. Plexiglass and glue, 20" x 20" x 14". Colin Roberts’ Glass Pllows are kaleidoscopic wonders completely handmade from hundreds of plexiglass tiles glued together. The Pillows are completely hollow. The saggy, fluffy organic forms are made up of hard, durable material that give the illusion of softness. To some they resemble a small Buddha-like being or even a human torso. Light reflects off the pillows like a disco ball and can fill a room with shards of light. Colin’s inspiration was to use the pillow as a form because it’s something every human can relate to, yet most rarely contemplate. A pillow is a symbol for comfort, rest, sleep and dreams. The different color tiles and reflecting light resemble the shifting visuals of our uncoscious. The pillows are the artist's way of combining my interest in architecture, light and one of our body’s most important functions –the dream state. Colin Roberts received his BFA from Otis School of Art and Design in 2001. He has had solo exhibitions at Steve Turner Gallery, Patricia Faure Gallery and Monte Vista Projects. Roberts has also participated in exhibitions at The Skirball Center, Mark Moore Gallery, June Lee Contemporary, Gavin Brown's Passerby Gallery NY, Torrance Art Museum, The Depart Foundation, LAMAG, Wolf and Galentz Berlin and many others. Roberts’ work resides in collections worldwide and he is currently represented by June Lee Contemporary in Orange County. He is also the founder and director of LAVA Projects Art Gallery in Los Angeles. The artist’s website Colossal blog article The artist’s Instagram |
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Katherine Skaperdas Chapin
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| Colin Roberts, Holograph Pillow, 2019. Plexiglass and glue, 20" x 20" x 14". Colin Roberts’ Glass Pllows are kaleidoscopic wonders completely handmade from hundreds of plexiglass tiles glued together. The Pillows are completely hollow. The saggy, fluffy organic forms are made up of hard, durable material that give the illusion of softness. To some they resemble a small Buddha-like being or even a human torso. Light reflects off the pillows like a disco ball and can fill a room with shards of light. Colin’s inspiration was to use the pillow as a form because it’s something every human can relate to, yet most rarely contemplate. A pillow is a symbol for comfort, rest, sleep and dreams. The different color tiles and reflecting light resemble the shifting visuals of our uncoscious. The pillows are the artist's way of combining my interest in architecture, light and one of our body’s most important functions –the dream state. Colin Roberts received his BFA from Otis School of Art and Design in 2001. He has had solo exhibitions at Steve Turner Gallery, Patricia Faure Gallery and Monte Vista Projects. Roberts has also participated in exhibitions at The Skirball Center, Mark Moore Gallery, June Lee Contemporary, Gavin Brown's Passerby Gallery NY, Torrance Art Museum, The Depart Foundation, LAMAG, Wolf and Galentz Berlin and many others. Roberts’ work resides in collections worldwide and he is currently represented by June Lee Contemporary in Orange County. He is also the founder and director of LAVA Projects Art Gallery in Los Angeles. The artist’s website Colossal blog article The artist’s Instagram |
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| Bridget Rountree, Thought Forms, 2015. Mixed media, 17.5" x 15.5". “Thought Forms was made at an artist residency in Tuscany, Italy. I have studied with two international South African/Italian artists, Rose Shakinovsky and Claire Gavrosnsky, for over 16 years and this work is part of that lineage. This work was made while considering the concept of how we think shapes what we see and how we create meaning. Looking at the everyday world with the idea that we are not only passively interacting with the environment, we are actually actively thinking it. What though forms do you live by?” –Bridget Rountree “The layering of art historical images, the use of found objects, and physical performance become ways for me to create meaning in what feels to be an incredibly precarious time environmentally, socially, politically, and spiritually. What epistemologies have led to this precariousness and how have images played their role? I am interested in rearranging the hierarchies of pictures and objects that seemingly convey cultural, economic, or artistic status. I use collage, painting, objects, and collaborative performance to cut out, insert, juxtapose and interrupt seeming incongruent ideas and philosophies to see if they too can cohabitate or reveal unforeseen connections. I consistently return to the idea of absence, not as something missing, but with the potentiality of being found.” –Bridget Rountree The artist’s website Interview with the artist about her Spring 2020 exhibition at VCHQ Gallery |
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| Barbara Runge, Green Valley II, 2008. Acrylic on canvas, 48" x 24". “Canadian born, Barbara Runge is committed to the study of the language and mystery of art. Barbara paints with acrylic and oil, and continues to work in several directions as she explores the images that make up life in all its diversity. Her art is exhibited and collected nationally and internationally. As a painter she is drawn to the landscape and loves to paint the sky.” –Barbara Runge Virtual Studio Visit: Larry Vogel and Barbara Runge The artist’s website |
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max borseth
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| Deanne Sabeck, Sapphire Wave, 2015. Dichroic glass and stainless steel, 16" x 30" x 9". “My light sculptures are created from pure light refracted into the brilliant colors of our physical world. Using dichroic glass, which divides the light spectrum, transmitting one color while reflecting its opposite, I create sculptural light paintings with forms and colors that continually evolve, appear and disappear in meditative patterns.” –Deanne Sabeck Virtual Studio Visit: Deanne Sabeck The artist’s website Demonstration of light sculpture La Jolla Light article |
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Margie Newell
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| Brooke Sauer, Daydream, 2019. Cyanotype painting, 41"x 27". This artwork is sold unframed “My piece Daydream was inspired by a trip to a rural area of Paso Robles where I spent the weekend with some new friends that I was excited to get to know better. We camped out on this bluff which faced west, and every evening we would gather to the edge of the bluff and watch the sun set together, a ritual that took hours as the land before us was very open. I would wander the bluff looking for wild plants that I could use in my cyanotypes, and of course chatting and getting to know this group of wonderful people better. There were many moments when everyone would just fall silent, gazing out over the bluff at the sun, all in our own daydreams, but daydreaming all together.” –Brooke Sauer Brooke Sauer is a Los Angeles based artist whose work is inspired by her innate connection to nature. With her work she strives to connect more deeply with the natural world by exploring and learning about it first-hand, and reflecting on our symbiotic connection to it. The intimate and sometimes whimsical moments portrayed in her work suggest that just as nature surrounds us, it is also within us. Her unique cyanotype illustrations are created by combining a very old photographic printing process (cyanotype), with her background in painting and her love of botany, using the natural sunlight and water available to her to produce each unique and unpredictable piece. Her prints are made from pressed plants that she collects while hiking and exploring. The artist’s website The artist’s Instagram |
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Terri Zimdars
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| Brooke Sauer, Naupaka, 2018. Cyanotype painting, unframed diptych, 22"x 30" each. This artwork is sold unframed “Naupaka was inspired by my sketches that I created while observing the native flora and fauna on Isla Holbox, an island off the coast of the Yucatan peninsula. The name of the plant in this cyanotype is Naupaka, and it has an interesting legendary story. There are two varieties of this plant- one grows near the ocean (which is the one I painted), and one grows in the mountains. Each plant has what looks like half of a blossom and when they are placed side by side they form a whole, complete flower. There are Hawaiian legends about lovers that were separated, click here if you would like to read more.”–Brooke Sauer Brooke Sauer is a Los Angeles based artist whose work is inspired by her innate connection to nature. With her work she strives to connect more deeply with the natural world by exploring and learning about it first-hand, and reflecting on our symbiotic connection to it. The intimate and sometimes whimsical moments portrayed in her work suggest that just as nature surrounds us, it is also within us. Her unique cyanotype illustrations are created by combining a very old photographic printing process (cyanotype), with her background in painting and her love of botany, using the natural sunlight and water available to her to produce each unique and unpredictable piece. Her prints are made from pressed plants that she collects while hiking and exploring. The artist’s website The artist’s Instagram |
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Jeremy Cohen
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| Gail Schneider, Ear, 2015. Terracotta, mortar, and steel hanger, 7" x 2.5". “The ear resonates for me as a body part with so many implications about the beauty of the sensual and how much that matters. And how hearing is important especially in this time, and how it can so easily turn from flesh to brick. I wanted to present these ambiguities.” –Gail Schneider “My work proposes an examination of the human form with references to mythology, biology, and the crisis of identity about who and what we are. The sculptures are of clay and carved found pieces of trees and desert flora. I combine them into forms to create a movement from the human into the organic forms of nature and back again. Inspired by stories and myths where there is sudden and unexpected transformations. I try to bring up the disconnect that humans have with nature and that we are no longer seeing or believing, as many previous cultures did, that everything is alive.” –Gail Schneider The artist’s website SD Union Tribune article |
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Robin Lipman
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| Gail Schneider, Migrant Butterfly, 2019. Terracotta, mortar, tin, copper wire, and carved wood, 13" x 24" x 1.5". “The Monarch’s thousands of miles of migration fascinates me and knowing of the loss of habitat, I wanted to record how deeply and personally I feel this loss and the madness that has made this tragedy happen. It’s obvious that their journey is not dissimilar to the disparate people coming up from the rest of the Americas, sharing the same home with the butterflies and this too I want to record.” –Gail Schneider “My work proposes an examination of the human form with references to mythology, biology, and the crisis of identity about who and what we are. The sculptures are of clay and carved found pieces of trees and desert flora. I combine them into forms to create a movement from the human into the organic forms of nature and back again. Inspired by stories and myths where there is sudden and unexpected transformations. I try to bring up the disconnect that humans have with nature and that we are no longer seeing or believing, as many previous cultures did, that everything is alive.” –Gail Schneider The artist’s website SD Union Tribune article |
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Joan Bockman
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| Madeline Sherry, People Watching, 2019. Oil on canvas, 18" x 24". “This piece was begun in my studio in Barrio Logan in January 2019. A few days later the gallerist announced she would be moving at the end of the month and closing down the gallery. The unfinished version was shown in my Barrio Logan studio but the finished painting not completed until I had moved the bulk of my work into storage and my new studio space was finally set up in March 2019 when I could begin painting again. So People Watching has traveled in space, time, and meaning over the course of that journey.” –Madeline Sherry The artist’s website The artist’s Instagram |
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Margie Newell
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| Ving Simpson, Stacked Oblongs, 2018. Tarpaper, paint, and wood, 21" x 15.5" x 3.5". “I credit any ability I may have to imagine and create squarely on the shoulders of my human nature. I may have always been an artist inside but I had no real understanding of what art was and no artists around me to show me the way when I was young. I wanted to follow an art path but instead pursued science, career, and family. In time, circumstances led to big changes in my life and a reconsideration of art. I started in with painting, learning on the job, so to speak. After ten years, I showed my work with a deep sense of personal satisfaction. I continued to paint, married a fabulous artist, and found an art museum in my neighborhood.” –Ving Simpson Imagining the Unseen exhibition at Hill Street Country Club: article, interview, and gallery |
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Kathleen Kane-Murrell
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| Ving Simpson, Triangle Clover, 2018. Tarpaper, paint, wood, and steel, 14" x 14" x 4.5". “I credit any ability I may have to imagine and create squarely on the shoulders of my human nature. I may have always been an artist inside but I had no real understanding of what art was and no artists around me to show me the way when I was young. I wanted to follow an art path but instead pursued science, career, and family. In time, circumstances led to big changes in my life and a reconsideration of art. I started in with painting, learning on the job, so to speak. After ten years, I showed my work with a deep sense of personal satisfaction. I continued to paint, married a fabulous artist, and found an art museum in my neighborhood.” –Ving Simpson Imagining the Unseen exhibition at Hill Street Country Club: article, interview, and gallery |
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| Ving Simpson, Woven Shield, 2018. Tarpaper, paint, wood, and steel, 34" x 20" x 7.5". “I credit any ability I may have to imagine and create squarely on the shoulders of my human nature. I may have always been an artist inside but I had no real understanding of what art was and no artists around me to show me the way when I was young. I wanted to follow an art path but instead pursued science, career, and family. In time, circumstances led to big changes in my life and a reconsideration of art. I started in with painting, learning on the job, so to speak. After ten years, I showed my work with a deep sense of personal satisfaction. I continued to paint, married a fabulous artist, and found an art museum in my neighborhood.” –Ving Simpson Imagining the Unseen exhibition at Hill Street Country Club: article, interview, and gallery |
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Regina Wilson
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| Lyndelle Stonick, Torn Edges, 1995. Soft pastel on paper, 38" x 30". “My Metaphysical series was inspired by a fascination with duality and reality. I didn’t intend for the series to be about the I Ching, but I was pulling from similar concepts on energy and dualities in how I felt and saw the world. Eventually I incorporated trigrams to introduce part of the symbolism used in I Ching (which uses hexagrams made up of two trigrams). Sometimes I disguised the elements as rocks, shapes, or camouflaged lines. The trigrams are composed of three lines in different arrangements. To me these three lines represent the body, the mind, and the spirit which define a human being. All three are present. Without one we are not whole.” –Lyndelle Stonick Lyndelle Stonick has inspired others through her teaching skills as an art instructor for Saddleback College since 1995. She has over 30 years of professional experience, both as an art exhibitor and judge. She has exhibited at the Festival of Arts in Laguna Beach for several years, as well as at art museums and art Institutes in California, New York and Italy. Because of her outstanding talent, Stonick has been recognized with numerous first place and best of show awards throughout her career. Her work has been published in Southwest Art, the Pastel Journal, Art Collectors Magazine, Daniel Smith Catalog. Her passion for the pastel medium inspired her to become founder and first president of the United Society of Pastel Artists. The artist’s website SD Voyager Interview |
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| Robert Stratton, Cacti31, 2019. Pigment dye print on archival fine art paper, 40" x 28". Robert Stratton is a digital artist, designer and programmer who has recently moved to Southern California after a 7-year stint in Bangkok, Thailand. In his work, he uses software he wrote to manipulate photographic imagery he has shot in Bangkok and now in the San Diego area. The software scales, rotates and folds different parts of the original image into intricate “kaleidoscopic” symmetries in an iterative process which also randomizes the parameters fed to the algorithm. A feedback loop increasingly re-works the image, so that the spatial coherence of the original photograph becomes increasingly fractured by the process. At the core of the work is a tension between the objective reality of the photographic source and the abstracted patterns emerging from the re-shuffled shapes, colors and textures that emerge in the increasingly processed versions of the photo. The resulting tensions in the completed works - between visual order and disorder, purpose and randomness, abstract pattern versus photographic document – all work to give them their unique character. The artist’s website The artist’s Instagram |
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| Robert Stratton, Lanluang_11, 2017. Pigment dye print, 32.5" x 22.5". “This image started with a photograph I took of an Aloe Cameronii succulent that I manipulated using custom software that I wrote. I like to work through various contradictory tendencies in my work and create an aesthetic tension between them. To start with there is the notion that a photograph 'captures' something, while an abstract painting, for instance, is 'created'–an act of pure creative imagination rather than the curation of an objective reality. As I process my source photograph it moves away from its status as a referential document of a thing at a certain time and place toward an abstract composition of forms, colors, and textures. If I do not process an image enough, the source photograph asserts itself too much. If I process it too much, the work becomes a purely decorative pattern. With this piece I hope the viewer will find an appealingly ambiguous status as to the provenance and subject matter of the image. Close inspection reveals that the image is built entirely from photographic elements but there are also some painterly touches found in the palette and composition of the work. Plant elements are apparent in what are clearly leaves and thorns but the overall composition suggests something insect-like, something slightly sinister with rows of teeth or mandibles.” –Robert Stratton Robert Stratton is a digital artist, designer and programmer who has recently moved to Southern California after a 7-year stint in Bangkok, Thailand. In his work, he uses software he wrote to manipulate photographic imagery he has shot in Bangkok and now in the San Diego area. The software scales, rotates and folds different parts of the original image into intricate “kaleidoscopic” symmetries in an iterative process which also randomizes the parameters fed to the algorithm. A feedback loop increasingly re-works the image, so that the spatial coherence of the original photograph becomes increasingly fractured by the process. At the core of the work is a tension between the objective reality of the photographic source and the abstracted patterns emerging from the re-shuffled shapes, colors and textures that emerge in the increasingly processed versions of the photo. The resulting tensions in the completed works - between visual order and disorder, purpose and randomness, abstract pattern versus photographic document – all work to give them their unique character. The artist’s website The artist’s Instagram |
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Sandra Chanis
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| Michael Summers, Shake it Off, 2019. Limited edition giclee on canvas with acrylic hand embellishments, 24" x 18". “It IS named after the Taylor Swift song Shake It Off. Not that Michael is a big T-Swift fan or anything (though he does enjoy her music)... but it just happened to play on the radio when Michael was creating the piece and considering the crazy state of the world, he thought it was a good title... a reminder that sometimes when things get you down or you get overwhelmed, you just have to "shake it off" ;) As the song says, 'It's like I got this music in my mind, saying 'it's gonna be alright'.” –Mitzi Summers, the artist's representative Michael Summers was born in Los Angeles sometime during the Carter administration. He grew up in Joshua Tree, California surrounded by a cavalcade of eccentric art-commune inhabiting social dropouts, idealistic dreamers, and rural American free thinkers. Art and creativity surrounded Michael from an early age and has been a pivotal part of his identity throughout his life. He left home in his early twenties and after drifting from Virginia, to Missouri, then Texas, he returned to San Diego, California, finally settling in Oceanside, where he currently lives and works. A classically trained artist, Michael Summers blends the meticulous techniques of the old-world masters with contemporary, hyper-saturated imagery to create deceptively whimsical paintings, alive with hidden meaning. His paintings take us into a crisp and colorful world, full of nostalgia, splendor, and whimsy. Within each vibrant scene are playful reminders that our everyday lives are filled with wonder, beauty, and magic, if only we allow our eyes to see it. The artist’s website Meet the artist video Installing Harrah's Resort Wall Mural |
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| Soo Sung, September, 2016. Acrylic on canvas, 36" x 24". More artwork by the artist |
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Erin Arding
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| Cheryl Tall, Masked Man, 1998. Ceramic, 26" x 14" x 7". “Masked Men portrays the heads of two people with a castle-like house on their heads, and explores the many different interpretations of wearing masks. Men in masks, such as Zorro, Spiderman, and Batman, have been popular heroes since movies began, and flourish in comic books and video games. These heroes are dedicated to fighting evil, protecting the public, and battling enemies. Masks have also been used in entertainment since before recorded history, and now we wear masks during Halloween, masquerades, and Comic-Con. Psychologists have described the Ego as a kind of façade, or a mask concealing emotions and desires which are not socially acceptable. And now prominently in contemporary culture, we have donned masks to fight the COVID-19 virus and affected how we interpret facial cues when faces are concealed. As the virus continues to impact our society, communication and culture are changed by the mask.” –Cheryl Tall Cheryl Tall is a Southern California-based artist whose work focuses on the relationships between people and their life stories, and often includes architectural and figurative elements. She is especially known for her pinch coil technique, which gives her work an unusual texture reminiscent of wood shingles or scales. Tall grew up in Florida and derived her color palate from tropical houses and landscapes. She has traveled extensively and was inspired by arts in Canada, Japan, China, Greece, France, Spain, Italy, Hungary, Korea, Mexico, and the U.S. An early childhood steeped in fantasy, due to family involvement at Disney World, has given her work sense of animation and theater. The artist’s website An interview with Cheryl Tall The Figurative Art Beat article |
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| Marie Tartar, Jellies, 2019. Photograph, 24" x 24". “Jellies was taken in Raja Ampat, Indonesia. There are only a few places in the world where one can snorkel with essentially stingless jellyfish. Isolated populations can be found in remote lakes and lagoons in the Indo-Pacific. The presumption is that these jellyfish populations have been cut off from oceans for millenia and have evolved without predation and the need to sting. Algae in the tissues of these jellyfish photosynthesize, providing the jellyfish with an energy source. The jellyfish migrate to follow the sun, effectively ‘farming’ via their internal algae.” –Marie Tartar Marie Tartar is an avid explorer of the natural world, both above and below the waterline. Whether hiking, diving, or biking, she is observing nature and light closely. She is one half of the photographic partnership of San Diego-based Aperture Photo Arts (APA), along with her husband, Steve Eilenberg. Her work was recently showcased in a two-artist show at The Photographer’s Eye Gallery in Escondido entitled The Tonic of Wildness. Her images have previously been exhibited at the La Jolla Athenaeum, San Diego Natural History Museum, Oceanside Museum of Art, Birch Aquarium, and the Smithsonian National Museum of Natural History. Since 2017, Tartar has written articles for an online photography e-zine, Photo Focus. The artist’s website Photographing the West article, Photographing Whales Photofocus article In Search of Wilson’s Bird of Paradise |
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| Marie Tartar, Fringe, 2019. Photograph, 12" x 12". “Fringe is a detail from a local inhabitant of cold Southern California waters, a white-spotted rose anemone (also known as a strawberry anemone).” –Marie Tartar Marie Tartar is an avid explorer of the natural world, both above and below the waterline. Whether hiking, diving, or biking, she is observing nature and light closely. She is one half of the photographic partnership of San Diego-based Aperture Photo Arts (APA), along with her husband, Steve Eilenberg. Her work was recently showcased in a two-artist show at The Photographer’s Eye Gallery in Escondido entitled The Tonic of Wildness. Her images have previously been exhibited at the La Jolla Athenaeum, San Diego Natural History Museum, Oceanside Museum of Art, Birch Aquarium, and the Smithsonian National Museum of Natural History. Since 2017, Tartar has written articles for an online photography e-zine, Photo Focus. The artist’s website Photographing the West article, Photographing Whales Photofocus article In Search of Wilson’s Bird of Paradise |
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Deanne Sabeck
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| Tokeli, Violette (I), 2019. Photography and mixed media, 16" x 12". Tokeli is a multidimensional painter, composer and writer who expresses in mixed media “consciousness,” i.e. the theatre of perceptual awareness. A traumatic fall down a flight of stairs catapulted the artist into a transformative out of body experience which led to a deeper understanding of the second self. Tokeli synesthetically articulates the beauty and mystery of what quantum physicists call the “unified field of consciousness” through her paintings (acrylic, oil, lacquer, photography, epoxy, salt, etc.). Each piece is associated with a philosophical concept. Tokeli has an extensive background in the arts (music, theatre, film, painting), as well as a minor in philosophy from UCSD (undergrad) and a masters in Dramatic Literature from Tufts University (Masters). She also teaches meditation and metaphysics/consciousness privately and in small groups. The artist’s website |
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Derek Floyd
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| Pasha Turley, Swaying Palms, 2015. Photography on hand burnished metal, 15" x 30". “Swaying Palms is a collection of images of palm trees taken while I was on the Hawaiian Island of Molokai. I often lie under palm trees by the beach, and looking up it appears like the palms are whirling so I began to swirl my camera around in a circle while photographing to try to capture this feeling. Over fifty photographs of the palm branches were recorded before I was satisfied with the composition for the triptych. The photos were made into transparencies and adhered to an aluminum plate which I burnished and sanded to follow the shapes of the palms movements so the texture of the plate would show though the film transparency. The artwork portrays not only the movement but is also becomes dream like because of the color enhancement.” –Pasha Turley G. Pasha Turley earned her BA from the University of California, Santa Barbara and her MA from San Diego State University. She retired from Southwestern College where she was a professor of art, photography, and gallery director. Her artwork has been exhibited in over 200 exhibitions and appears in textbooks and magazines. She is the recipient of numerous awards and grants including the California Art Council, Fulbright-Hays, National Endowment for the Humanities, and San Diego Foundation Grant. “My artwork predominantly focuses on the human condition and political issues. The intention of the work is that it will invite you to discover a closer sense of being.” –G. Pasha Turley The artist’s website |
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$625Min Bid
$2,325Buy Now
| Valya, Watch the Sky (III), 2005. Painting on silk, 42" x 44". “My life has been full of strong emotion, which has been imprinted on my soul and reflected in my art. I have experienced the universal feelings of love and pain, sorrow and exultation. I was thrown down into the depths of darkness and despair from which I almost did not recover. However, in time, this experience became a catalyst for my artistic work, forever altering my sense of color. My art is a metaphor for my personal journey on the road to self-realization. The colors and images of my work are a direct translation of how my soul sees the world. Each work tells a chapter of my life and functions as a vital part of my whole life experience.” –Valya The artist’s website The artist’s 2019 OMA Exhibition A tour of the artist’s OMA exhibition |
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Linda Bray
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| Larry Vogel, In Flight, 2019. Burnt sculpted wood, resin cast photo, and cast concrete base, 18" x 18" x 8". “I am a multi-disciplined artist, working in photography, sculpture, and ceramics. Often I am interested in trying to fuse two or more of my chosen mediums into a single piece. This is the case with my sculpture, In Flight. The piece uses an abstract photograph of a bird that has been cast into resin, on the wood 'wing'. The 'wing' is made from a one-hundred-year-old piece of barn wood, scavenged from a dear friend’s barn in northern California. The wood has been shaped and textured with fire. The 'wing' is attached to the cast concrete base using a pin and sleeve system, which allows the 'wing' to spin freely above the base.” –Larry Vogel Virtual Studio Visit: Larry Vogel and Barbara Runge The artist’s website The artist’s Instagram Larry Vogel on The Shout-Out Show |
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Marie Tartar
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| Ruth Wallen, Elfin Forest Chaparral Summer 2017, 2018. Permanent pigment ink jet print, 32" x 32". This artwork is sold unframed From the spring of 2017 through the summer of 2018 I visited Elfin Forest Recreational Reserve every season to photograph the chaparral. To capture the essence of what I saw, I combined the photos into photomontages like the one you see here, which is composed of thirteen different photographs. These photomontages combine a series of glimpses, creating more intensity and depth than would be possible in a single image. Ruth Wallen is a multi-media artist and writer whose work is dedicated to encouraging dialogue around ecological and social justice. After initial training and work experience in environmental science she turned to art to pose questions beyond disciplinary boundaries, address values informing environmental policy, and contribute to the development of the field of ecological art. She creates interactive installations, outdoor nature walks, web sites, artist books, and performative lectures. Her critical writing addresses ecological art and race, gender, and visual culture. The artist’s website San Diego Mesa College Art Gallery presents Ruth Wallen |
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| Michael Ward, Casa Romantica, 2014. Acrylic on canvas, 30" x 40". “I was offered a solo show at the Casa Romantica in San Clemente, so to fill the space of two large rooms in that location I did some paintings of this classic Spanish-style Hacienda. For this view of the exterior courtyard, I added a palm tree and removed the condominium building the otherwise blocks the view from this angle.” –Michael Ward “I began my artistic career doing pen and ink renderings of historical architecture. Inspired by the photorealist artists of the 1960s and 1970s, I began painting in 1980, first in gouache, then in acrylics. These early efforts were successful, and I even made a sale, of Pink Elephant for $150. Other events in my life caused a hiatus, but I resumed painting in the mid 1990's, initially to recreate the Pink Elephant painting I regretted selling. I have been painting steadily ever since. I draw inspiration from the work of Edward Hopper, Charles Sheeler, Richard Estes and Vermeer. I am most interested in depicting what Alan Watts called the mystery of the ordinary; the workaday world we live in without seeing until we are forced to focus upon it, as in a painting. Nearly all my paintings are based on photographs I have taken, primarily of Southern California scenes, over the years.” –Michael Ward The artist’s website Artist Portfolio Magazine featured artist Creative Boom article and review |
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David Colley
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| Michael Ward, Sales, 2011. Acrylic on canvas, 18" x 24". “This is a view of a fragment of a metal building at the Santa Monica Airport, which I spotted while attending the Los Angeles Art Show at the Barker Hanger, back when it was held at that location. After viewing a hanger’s worth of art, everything I saw seemed like a work of art. So I took a lot of photos, which eventually resulted in this painting. I was influenced by Charles Sheeler, who delighted in such industrial compositons.” –Michael Ward “I began my artistic career doing pen and ink renderings of historical architecture. Inspired by the photorealist artists of the 1960s and 1970s, I began painting in 1980, first in gouache, then in acrylics. These early efforts were successful, and I even made a sale, of Pink Elephant for $150. Other events in my life caused a hiatus, but I resumed painting in the mid 1990's, initially to recreate the Pink Elephant painting I regretted selling. I have been painting steadily ever since. I draw inspiration from the work of Edward Hopper, Charles Sheeler, Richard Estes and Vermeer. I am most interested in depicting what Alan Watts called the mystery of the ordinary; the workaday world we live in without seeing until we are forced to focus upon it, as in a painting. Nearly all my paintings are based on photographs I have taken, primarily of Southern California scenes, over the years.” –Michael Ward The artist’s website Artist Portfolio Magazine featured artist Creative Boom article and review |
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Margie Newell
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| Rebecca Webb, Hado (Colorfield I), 2020. Color pencil on digital archival photo rag paper, framed with a simple white frame, white mat, and UV plexi, 52" x 27.2". “My photographs are intended to stimulate the viewers' visceral experience of the desert winds and the seductive landscapes of the southwest deserts. Through a performative act of releasing fabrics into gusts, gales, and blasts, I capture the powerful desert winds; like water, the wind can be both destructive and beneficial, poetic, and powerful.” –Rebecca Webb Rebecca Webb is photo based artist who explores ecological history, time, and place identity in landscape and portraiture. Her background is in painting, printmaking, and film production. Selections from Webb’s Hado series will be featured in the Paisanos traveling exhibition at various institutions starting in September 2019 through March 2020 (CEART and CECUT in Tijuana, Mexico and at the Mexican Consulate in San Bernardino, California). From April 2019 to April 2020 her photographic series Hado was installed at the San Diego Airport, Terminal 2, in a curated exhibition entitled Forces of Nature . Hado was a finalist for the 2019 San Diego Orchid Award. The artist’s website William Male Foundation grant recipient profile SD Voyager interview Hugh Davies’ Expert Opinion video for this art |
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Renier Milan
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| Brady Willmott, Ambiguous Anonymity, 2018. Oil on canvas, 16" x 20". “The ever illusive jackalope enjoying some alone time.” –Brady Wilmott Creating imagery that inspires the imagination, coupled with classic painting techniques, Brady Willmott’s unique twist on pop surrealism leaves a lasting impression. Willmott paints in oils and is based in Carlsbad, California. Born and raised in Vermont and having lived several years in the mountains of Colorado before relocating to Southern California in 2003, his connection to the ocean and nostalgia for the mountains are evident in his work. A strong imagination, dry sense of humor, and recent retirement from a successful career as a tattoo artist also play a role. The artist’s website The artist’s Instagram SD Voyager interview |
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Robin Lipman
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| Brady Willmott, Simplicity, 2018. Oil on canvas, 24" x 36". “This is a departure from my normal work, to give myself a bit of an artistic reset. This is a pivotal piece for me; you will see my use of space and atmosphere change from this point forward.” –Brady Wilmott Creating imagery that inspires the imagination, coupled with classic painting techniques, Brady Willmott’s unique twist on pop surrealism leaves a lasting impression. Willmott paints in oils and is based in Carlsbad, California. Born and raised in Vermont and having lived several years in the mountains of Colorado before relocating to Southern California in 2003, his connection to the ocean and nostalgia for the mountains are evident in his work. A strong imagination, dry sense of humor, and recent retirement from a successful career as a tattoo artist also play a role. The artist’s website The artist’s Instagram SD Voyager interview |
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| Brady Willmott, The Getaway, 2018. Oil on wood, 10" x 10". “For the introvert, comfort can lie in self sufficiency. Finding the balance of being visible and invisible to society at the same time is a constant struggle.” –Brady Wilmott Creating imagery that inspires the imagination, coupled with classic painting techniques, Brady Willmott’s unique twist on pop surrealism leaves a lasting impression. Willmott paints in oils and is based in Carlsbad, California. Born and raised in Vermont and having lived several years in the mountains of Colorado before relocating to Southern California in 2003, his connection to the ocean and nostalgia for the mountains are evident in his work. A strong imagination, dry sense of humor, and recent retirement from a successful career as a tattoo artist also play a role. The artist’s website The artist’s Instagram SD Voyager interview |
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Gisela Hill
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| Michael Gross, Untitled, 2004. Reproduction of oil pastel on paper, 20" x 18". This vibrant artwork by one of Oceanside’s hometown heroes, Michael C. Gross credited for designing the Ghostbusters logo, one of the most recognizable logos in the world. Gross was a 15-year resident of Oceanside before his passing in 2015 and served on OMA’s Exhibition Committee in the early 2010s. He grew up in Newburgh, New York and graduated from the prestigious Pratt Institute. One of his first big graphic design jobs was working as a Design Director for the 1968 Mexico City Olympics. In the early 1970s he became the Art Director for National Lampoon Magazine. There he designed iconic magazine covers and became friends with young up and coming actors like John Belushi and Bill Murray. While at Lampoon, Gross freelanced and was John Lennon's personal designer for a year and a half. After National Lampoon Gross went on to be Art Director for Esquire magazine, designing many more iconic magazine covers. In 1980 Gross left NYC and moved to Los Angeles to work on movies. He did 11 movies in 14 years with Director Ivan Reitman. He worked as a Producer on many cult classics including Heavy Metal, Beethoven, Twins, and Ghostbusters. The artist’s IMDB page Obituary in the Hollywood Reporter |
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Shelley Clark
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| Andrew Alcasid, Black on Blue, 2019. Etching ink on Stonehenge monotype, 9" x 9". Andrew Alcasid (b.198X) is a Southern California based artist. Born in the Mira Mesa neighborhood of San Diego, Alcasid is primarily self-taught, although he has taken art classes at San Diego City and Mesa colleges. When looking to his influences within the contemporary art cannon, Alcasid draws inspiration from the artists of the light and space movement of the 1960s and ‘70s. Currently displaying work throughout San Diego, his work has been exhibited in numerous group and solo exhibitions throughout the region. Alcasid has held a long-term artist residency at one of the region’s most formidable art centers, Bread and Salt. The artist’s Instagram page About the Artist video |
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Ann von Gal
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| David Milton, Classic Airstream, 2018. Watercolor on 300lb Arches, 32" x 42". This stunning example of watercolor artistry is by a master in the field. David Milton has devoted most of his career to finding and documenting classic and vanishing landmarks of 20th century America. Airstream trailers, such as this one found on California Highway 395, are a favorite subject because the reflections are challenging to capture and they express a visual story beyond what is within the picture frame. A small self-portrait by the artist is hidden in this work, and might be found by a discerning eye. Milton grew up in New York City. His early studies at the renowned Art Students League inspired him to earn a BFA at the University of California, Santa Cruz, and an MFA at San Jose State University. He is a Signature Member of the National Watercolor Society, and last year was selected to be included in the group’s exhibition at OMA. Milton’s artworks are in the permanent collections of Twentieth Century Fox Film Corporation, Bank of America World Headquarters, Leigh Yawkey Woodson Art Museum, the City of Las Vegas, and numerous private collections worldwide. The artist’s website Video about the artist Laguna Beach Independent article |
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