Recent Artifacts

Recent Artifacts is an exhibition of art made by Shelley Gardner,  Dan Lythcott-Haims, Stan Chan, Art Jackson and Brad Williams. Each artist works extensively with reclaimed materials, finding ways to create new treasures from broken glass, used blue jeans, rusted metal, discarded bits and pieces, and electrified wood. The show begins with its opening reception Friday, November 15th from 5-7pm and runs through January 3rd, 2020.

 

Cinch, by Shelley Gardner (2019)

Shelley Gardner

I first became enamored with denim jeans after attending an exhibit about the life and work of Levis Strauss at the Contemporary Jewish Museum. Previously I hadn’t given much thought to the ubiquitous jeans that I had been wearing all my life. Denim jeans as we know them today were created in 1873 with the introduction of the copper rivet to reinforce the pockets and seams on canvas work pants. California gold miners were in need of durable, long lasting pants and the Levis Strauss Company produced them from a strong sail cloth originally from Nimes, France. The name “denim” is derived from “Nimes”. What I love about the fabric is how each garment takes on the individual shape of the wearer. Much like an old pair of boots or gloves that crease and fold over time, denim jeans start to resemble the bodies that inhabit them. The fabric is so unique, I try to explore the property it possesses . I start by disassembling garments into all the individual parts: waistbands, inseams, and pockets; then put them back together again in a new form. Each pair of pants holds a personal story of the wearer which gets incorporated into my artwork along the way.

 

Ankh, by Dan Lythcott-Haims

Dan Lythcott-Haims

Art invites the viewer into the head and heart of the artist. It its a challenge to see differently. Photography and found object sculpture play unique roles within the arts due to their ability to show what IS at the same time as they manipulate the point of view to manifest the vision of the artist.

I have spent my life noticing things about the built world. I notice patterns both designed and emergent; I notice the color, form and scale. Each of my series works to elevate bits of the human-made world that go unseen, ignored, or discarded by capturing a particular element of my noticing: decay, pattern, or color.

I compose my photographs within the camera, moving my body ever closer until the contents of the location, environment, and even subject are lost, and I’ve whittled the thing to its unique core. In my sculpture, I take familiar human-made objects and assemble them into unexpected presentations – by combining multiples together or by cherishing a particular piece within its own frame. In both mediums I strive to recreate the quality that caught my interest – that thing that other people don’t see.

 

Bread Clips, by Stan Chan

Stan Chan

My immigrant parents were able to buy a Victorian house in East Oakland in the 1950’s. My mother lived there for almost 70 years where stuffs have accumulated in the nooks and cranny of the house. When I was a kid, I would bury my treasures in the holes in the wall. I’ve been making shallow wooden boxes and filled small objects in them. The idea was that the boxes represented wall sections of my mother’s house where artifacts got stuck in the crevices. I nailed a clear piece of plexiglass on top of each box and drew forgettable family stories on it. Originally it was texture to obscure the objects in the box.

 

Another Planet, by Art Jackson

Art Jackson

“I really enjoy the process, exploring all its variations. I like the infinite possibilities I can see in one simple process. I pick an odd material and start working with it, and wait for a feeling that says I like something. I did that with tumbled glass, dry lake bed dust, sand, and a few painting techniques, and reclaiming family photo frames turning them into little framed canvas. I would make art all day if I could. I have 5 – 6 great process directions I can work with until I can work no more.”

 

Static, by Brad Williams

Brad Williams

“I have always been humbled by the absolute unstoppable power that mother nature produces in all the various ways she unleashes her wrath. I have had some very powerful and awe inspiring moments with our dear mother nature. I had seen a program on the fact that mankind had found a way to stimulate and produce weather. Since I often work with electricity and from one of my near death experiences had understood the amount of respect I had for it. I decided to find a way that I could, for lack of a better word, control it. From that respect and desire to control it, came this form of directing it back into a small piece of nature, and that is wood. I hope anyone who views these pieces finds a bit of joy and beauty themselves.”

 

This show will be on display through January 3rd of 2020. Please join us for its Opening Reception Friday, November 15th from 5 – 7pm. We will provide refreshments and possibly live music as well.

 

 

 

Women’s Work, an exhibit of textile work

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For our next show, we will be featuring textile art by these fine artists: Dale Eastman, Rachel Leibman, Karin Lusnak, Stacey Shuster, Ileana Soto, Sharon Steuer and Ellen Weinstein. The show opens with its opening reception on Friday, September 13th and will run thru November 8th, 2019. We will also host an artist’s talk Sunday, October 6th, from 1 – 3pm. This group of artists was curated by Rachel Leibman and she had this to say of its inspiration: “I have long been enthralled by fiber art – the weavings of indigenous peoples around the world, the quilts of Gee’s Bend, Renaissance tapestries and oriental carpets. Textile work straddles the boundary between craft and art, frequently created for functional purposes, but still with a strong sense of design and imagination. Different regions and tribes have their own unique styles for creating fiber art, often passed down from generation to generation. With globalization and modernization, these traditions are sadly being forgotten. This has encouraged me to sew, weave and dye, and to seek out like-minded people.”

“This exhibit features textile artists who work with reclaimed or recycled materials in creative and surprising ways. These artists approach their artwork with a nod to long established crafts such as sewing, quilting, embroidery and dyeing, but each artist brings a singular and contemporary approach to a traditional, and overwhelmingly women’s, mètier. I have selected artists who work with different types of source materials and produce very different kinds of creations. Some use fabric and thread while others create textiles from non-traditional materials such as discarded moth cocoons or vintage watch parts. Some of the pieces are vibrant and colorful, while others are detailed and meticulous. All are interesting, original and innovative.”

 

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Seeding the future, by Dale Eastman

Dale Eastman

Objects evoke an ambivalence in me. Even still, for more than a decade, I’ve spent half of my time making some sort of object, typically using natural, electronic or salvaged materials. Discarded moth cocoons have been my material of choice for the last several years. Like so many soft sculptures made from fibrous materials, these cocoon pieces constantly shape shift each time they’re moved. While sewing, I sometimes hold the pieces out in front of me, almost a gestational pose, and it’s true that the proliferating, generative nature of the material and the work is as mesmerizing to me as the second hand on a clock. As I sew, I periodically wonder about the point at which a particular artwork began, where it will end, or if it ever will. Isn’t each piece often, in some way, a continuation of another? Some of the cocoons are riddled with holes, allowing the viewer to see both the outside and the inside of the work. For me, though, the artwork’s hollow, lacy ephemerality has an additional focus: the space that arises around the work itself. Could it be that it is this space that I’m most in search of (even longing for?) when I’m creating artwork? Objects are necessary: they define cultural space and provide helpful boundaries that direct and delineate. But they can also circumscribe and calcify; they even risk fitting us with cataracts that blind us to what isn’t yet. That’s a shame because what I’m learning from making objects is that what isn’t is often just as important as what is.

I’m a multimedia artist and a fiction writer who originally trained as a seamstress. Frequently, I combine these practices in order to explore the subtle or overlooked connections between different aspects of our lives. My artwork has been in numerous group and solo shows the San Francisco Bay Area.

daleeastman.com

 

Rachel Leibman website photo

Temporal Tapestry, by Rachel Leibman

Rachel Leibman

I am a mixed media artist, living and working in San Francisco. After becoming enamored with textile arts during travels around the country and abroad, I taught myself to sew and dye with natural materials. My most recent project is the “Chrono”  series. I make quilts and weavings embroidered with vintage watch parts. I also create textiles by weaving together watch parts with wire and using this new textile to construct tapestries and hanging sculptures.

I love working with watch parts not only because they are beautiful and exquisite, but because they provide such a wonderful metaphor for so many aspects of life. Our stories are bound up in time. No matter what we do, time marches on, leaving us with memories and hopes.

rachelleibman.com

 

Karin Lusnak website photo

Stepping Out, by Karin Lusnak

Karin Lusnak

Originally from Pennsylvania, I worked as a Research Associate in genetics and molecular biology laboratories at the University of California in Berkeley until retiring in 1998. During this time, I developed an interest in textile arts as a student at Pacific Basin School of Textile Arts and eventually received my MFA from California College of Arts and Crafts, now CCA.

While at CCA I discovered how much I enjoy three-dimensional work. I created “Can’t Becomes Act” sometime after graduation. This piece speaks for itself.

Although my love of fiber art often takes me toward two dimensional pieces, my desire to create something sculptural again coincided with my desire to let things go.  This led me to build a house with thread spools that belonged to my mother, to another dear friend, and to myself.  “Stepping Out” is and will always be filled with memories. The image of the house is often described as a symbol of the self and the figure of the woman represents my effort to move forward.

Another of my pieces, also a house, is built with wine corks and recycled denim. It addresses many issues from politics to personal. A lovely and gentle song based on Paul Gauguin’s painting called “Where Do We Come From? What Are We? Where Are We Going?” served as my inspiration.

“Getting THERE From HERE” describes a personal effort to move forward in life. The letters have an inner structure of sycamore branches covered with layers of fragile, pliable fabric sewn together and representing personal history and the multitude of experiences that compose a life. Bound with colorful silk fiber, the letters stand upright suggesting solidity, strength and perseverance.

KarinLusnak.com

 

Stacey Shuster website photo

Sanctuario, by Stacey Shuster

Stacey Shuster

My passion for machine quilting started in eighth grade home economics, I love the way you can create warmth and beauty for every day use, transforming old and new fabrics as women throughout the centuries have done. Quilting has largely been women’s work – from slaves in the south to immigrant women in northeast mill towns to plantation wives and pioneer women to contemporary art quilters – all with little recognition.

For this exhibit, I used donated quilts, fabric pieces and scraps to refashion them into entirely different creations. Inspired by traditional quilt patterns as well as the Gee’s Bend quilting collective of Alabama, I aim to demonstrate ways in which reclaimed fabrics focus on the current immigrant experience. As with the Underground Railroad, quilts can be used to guide endangered immigrants to safety and sanctuary. I want my quilts to tell stories that reflect and comment upon what is happening in the larger world.

 

Ileana Soto website photo

Women’s Work: Creativity, by Ileana Soto

Ileana Soto

Art has always been a theme, from the use of thread and color under the guidance of my Romanian grandmother, to a degree in Art History, from a year’s study at the California College of Art and Craft (now California College of Art) to the use of art therapy as a communication tool in my previous work as a licensed Marriage and Family Therapist. I’ve created textile art in the forms of woven cloth, fiber sculptures, sewn collages, pieced quilts, and now “art quilts”.

I am passionate about bringing the themes of culture, community and Climate Change/Crisis to an “alert” stage for viewers of my pieces. I discover, inform, and encourage activism through a process of internal and external artistic expression.

My work is tied to a commitment to personal deepening and exploration. I strive to create a dialogue between myself and the cloth as I develop the piece. Layers are generated, reflected in the layering of dye, of paint, of cloth over cloth. Once the piece is completed, I listen to the viewer’s perspective and participate in that dialogue.

With my invitation to join the “Women’s Work” exhibit, I have become interested in the use of recycled materials. Each piece is done on an originally white vintage cotton or linen textile, adding fused elements that were given to me, or recycled from my own original printed fabrics, “left over” from other art pieces. I enjoyed the layering of history, known and unknown. There will be more of these pieces in my future!

My mentors include surface design artist Jane Dunnewold, Dutch batik artist Els Van Baarle, quilter and artist Angie Woolman (she has been my quilter for over 12 years), and educator/founder of Formative Psychology, Stanley Keleman, now deceased. They, coupled with my personal work in therapy, help me focus, articulate, and form an expression of the complexity of our actions as they influence our internal and external worlds.

ileanasoto.com

 

Sharon Steuer website photo

I Will Fly Away, by Sharon Steuer

Sharon Steuer

For more than thirty-five years I’ve explored techniques that allow me to move back and forth between traditional and digital tools to merge painting, drawing, printmaking and collage. In the two smaller works from my ongoing “Letters From My Father” series I recreate imaginary worlds of childhood from adult chaos. Objects and letters sent to me as a child by my estranged father form the metaphorical (and sometimes literal) background for these works. “Branded By Her Genetic Mutation” is from my “For Our Own Good” series that poses taboo questions surrounding medical privacy and genetic surveillance. In 2011, I was diagnosed with a BRCA1 genetic mutation through my Jewish ancestry. With an exponentially increased risk of developing ovarian and/or breast cancer, medical professionals advised significant surgery and genetic surveillance “for my own good.” “Branded” is a unique monoprint-transfer created by digitally collaging a watercolor-pencil drawing with a portion of my genetic code (downloaded from an unsuccessful attempt by Myriad Pharmaceuticals to patent my genetic mutation).

sharonsteuer.com

 

Ellen Weinstein website photo

Over Under 1, by Ellen Weinstein

 

Ellen Weinstein 

My art is driven by my extensive interest in textiles. I sew, quilt, weave, dye, paint and print on fabrics. My ex-mother-in-law, Barbara Eiko (Hiura) Fukuchi shared her Japanese/Hawaiian culture and fabric, warm smile and oishii (tasty) tsukemono with me. She inspired my interest in Japanese art, specifically textiles. I fell in love with Shibori tie-dyeing after seeing an exhibit curated by Yoshiko Wada many years ago. Recently, I have been learning Japanese language and calligraphy, which enhances my artistic perspective and is incorporated into my art.

In this exhibit, I deconstructed vintage Japanese kimonos and textiles to create unique appliqué art and noren curtains. Noren are fabric dividers hung between rooms, on walls, in doorways, or in windows. I appreciate that they are functionally designed to serve as signs with store names and logo, protect store goods from the elements, be room dividers, and beautify homes. My art is not strictly traditional. I embrace an aesthetic of random surprise and create art that is imperfect, with elements of East and West cultures.

For the past 30 years, I have taught art to children of all ages at the de Young Museum, Legion of Honor, and Clarendon Elementary School in San Francisco. I have a degree in Drawing and Painting from the San Francisco Art Institute.

 

 

 

 

 

 

Re-Visions

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For the show Re-Visions, San Francisco based artists Danielle Satinover and Gregory Vernitsky bring a school of creative thought together. Both artists take a similar approach to the idea of found materials and come from a background where the financial ability to source materials for work was very limited. Vernitsky, originally from the Soviet Union with limited resources to artist materials, and Satinover by a lifetime restricted by socio-economic circumstances, have instilled in them the skills to see something in the ordinary and often discarded. Both artists have been able to see beyond the ordinary to discover new interpretations.

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Tall Bird, by Gregory Vernitsky

Vernitsky combines carved and painted found wood, tossed metal, and plastic into a joyful play with time, scale, and narrative. Concepts and structures of public art, relativity of meaning, and reflection on human frailty and feelings, are realized through his innate ability to see possibilities in things as simple as a block of wood, or grace in a rusty scrap of metal.

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Rattlesnake, by Danielle Satinover

Satinover also plays with concepts of the human condition but focuses more on the connection between humans and our environments and structures.  She often takes discarded man made items to create abstract forms. Her current work has been more descriptive, but still plays with the tensions between man’s creations and natures.

Both Vernitsky and Satinover often approach their subject matter with a sense of lightheartedness. This ease with which they come to their subject matter does not take away from the significance of the work, but rather adds a dimension to the story telling and gives the viewer a place to reflect on the history of the object as well as the new vision given to it by the artists. In the end, these two artists take discarded material and use it to bring us back to ourselves and reflect on our humanity and our connections to our surroundings and each other.

Join them in celebrating this journey at the opening reception Friday, July 12th from 5-7pm. For a more in-depth exploration of the artists’ processes, an artist talk will be held Saturday, July 27th from 1-3pm. Try your own hand at their process with an art making session August 10th from 1-3pm; finally, Re-Visions will end with a closing reception Saturday, September 7th from 1-3pm.

 

FULL CIRCLE

Nothing to Lose, by Dianne Hoffman

FULL CIRCLE, a duo exhibition by Dianne Hoffman & Su Evers May 7th – July 5th, 2019, opening reception to be held Saturday, May 11th from 5 – 7pm. Artist Talk and ArtSpan Mixer: Thursday, May 30th 6-8pm.

 

San Francisco artists Dianne Hoffman and Su Evers explore through mixed media the ebbs and flows of an evolving relationship. Using found objects, reclaimed wood and manipulated photography, they collectively take the viewer on a symbolic, personal journey from admiration to crush, passion to collaboration, trials to resolution, heartbreak to healing and then back around to an unwavering alliance of friendship.

Chemistry, by Dianne Hoffman

Dianne Hoffman creates dimensional vignettes of allegories by linking organic objects with industrial and figurative remnants and combines complementary muted color schemes to harmonize dissimilar media. She was born and raised in the suburbs of Southern California and moved north to become a resident of San Francisco in 1988. The City by the Bay, with its loving embrace of everything extraordinary and endless resource of possibilities, came to cultivate and nurture her creative impulses. She has been a full time assemblage artist of salvaged and repurposed components since 2010 with work found in collections worldwide.

 

Kind Woman, by Su Evers

 

Su Evers is drawn to the worn and deteriorating  elements of weathered wood, rusty nails, found objects and trampled on paper discovered on the streets of San Francisco. For this series she has assembled photographic digital frescos and printed photographs combined with found elements to capture a poetic depth of nostalgic fluidity. Su has lived and worked in San Francisco for the past thirty years and is currently creating art in a barn in Woodside.

FULL CIRCLE will open with its reception Saturday May 11th , complete with light refreshments. The event is free, please join us for this great show! Once open, the gallery is open for viewing and purchase everyday, from 9am -4:30pm. There will also be an artist talk and ArtSpan Mixer on Thursday, May 30th from 6-8pm.

DisposABILITIES

DisposABILITIES is a group show with Denise Laws, Heather Law, Marianne Mitten, Mariana Nelson, and Kevin Tuszynski, all using repurposed materials destined to be disposed. They are all inspired to rescue and manipulate materials that are predestined for landfill. They seek and acquire these materials and are driven by their limitless possibilities.

Denise uses single use foil lined packaging like tetra-Pak and food/beverage packaging. Kevin and Marianne work with paper scraps. Mariana works with plastic bags of all sorts. Heather works with Press Mold and Slip-cast trash.

This show begins on March 7th with its opening reception from 5 – 7 pm and runs through May 3rd, 2019.

Maze, by Denise Laws

Denise Laws

Through various arrangements and repetitions, the organic forms, shapes, and patterns of “Mylar Reveries” reveal the hidden elegance of reclaimed debris used as a medium, in large as a much-needed reminder of environmental awareness. The ultimate goal of this on-going body of work is to divert the refuse, such as single-use foil lined packagings from landfill and recast into graceful topographies that echo and reflect nature, landscapes, and horizons.

 

unnamed, by Heather Law

Heather Law

Heather Law’s artwork is a dramatic depiction of American material consumerism and the resulting waste it creates. The repurposing of personal detritus makes an ethical claim on the viewer, an invitation to reflect upon one’s own daily interactions with these common objects. The transformation of trash into slip-cast ceramic sculpture emphasizes the permanency of our growing landfills in an ever-increasing disposable nation.

 

Polyglot, by Marianne Mitten

Marianne Mitten

After working on computers and websites as a graphic designer for years, Marianne really missed working with her hands. Creating art with recycled paper strips became a natural transition. There is a lot of waste when it comes to printing: make ready sheets, trimmings, folding, gluing, etc. so instead of buying paper, why not create art with this instead. Marianne never has a preconceived idea when it comes to making pieces. She allows the medium to drive the piece.

 

Fungus, by Mariana Nelson

Mariana Nelson

Mariana’s work captures material like spools of thread, plastic biohazard bags and thousands of coffee cup lids, and turns them into meaningful, thought-provoking art. First is the degree of transformation: processing and inducing techniques – turning “garbage” into art. Mariana has an even greater purpose for these objects once they are transformed. Warped plastic lids are altered to the point that, together, their petal-like forms read like beautiful, vibrant fungus, perched on trees.

 

Tranquil Whirl, by Kevin Tuszynski

Kevin Tuszynski

“Chaos/Crisis” are works made during a dark period in Kevin’s life. However, the works are not dark at all. The use of clashing  colors and mixed patterns are used to portray the disruption of his life at that time. “Road Trip” series was inspired by finding a box of road maps in a neighbor’s recycling bin. The soft greens and blues in the maps play with the bolder colors he already works with. Kevin also works with other scavenged paper, print trimmings and fabrics.

 

Beauty on the Periphery

We don’t even see most of the stuff that’s thrown away – its on the periphery of our vision. All four of us picked up discarded items and gave them intention again. These items once had a purpose. We are now revitalizing them into forms that can be aesthetically appreciated. We hope that our intention will make an impression on viewers and help them see ways to consider and appreciate the potential of everyday throwaway bits and pieces.

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Emily Cruz

Emily Cruz is an artist born and raised in Escondido, California but moved to the Bay Area in 2009 to pursue her degree in art at San Francisco State University. While she dabbles in sculptured fiber, you can find her perusing printmaking, photography and life.

 

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Dierdre Weinberg

Dierdre Weinberg is a painter and muralist in San Francisco and uses recycled canvases to paint on. For this show, she scraped the bottom of paint cans and palletes  and attached them to used canvases, showing the colorful and and interesting patterns that the paint itself creates. The material is not seen at all, much less as a possible artistic venture, which is what she likes – to see the overlooked or unseen and it in a new way.

 

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Andrea Allen

The insect invasion series combines technology, biology, and geography to stimulate an aerial view of the earth. The digital laser discs represent the ocean while the land is grid-like and abstract. This series reminds us of Pangea, how approximately 300 million years ago all land was one super continent. Maybe we need to be reminded that we all are one, and that everything was/is connected. Each piece is an island, similar yet different. The scale of the insects are much too large and invasive in comparison to their surroundings. Their wings are made from the internal programming of keyboards, both delicate and detailed. This body of work came about as a playful exploration inspired by Sci-Fi “B” movies. Technology has made insects mega powerful. We have underestimated them. Insects have bee on this planet way longer than we have and are taking it back!

My process begins with an object that intrigues me. I reconceptualize the intended purpose of that object by transforming it into another. Much could be said by the discovery of self by researching the materials we surround ourselves with. Growing up in the United States with its abundance of materials and tendencies toward wastefulness has influenced my fascination with being resourceful. Art is a part of my whole being, my raison d’être. Playful and conceptual sculptures take life.

I received my degree in Fiber Art and Combined Media Sculpture from the University of Arizona, which set the foundation for learning the importance evolving relationships. Like a tapestry, everything is connected to everything else. Patterns in nature, humanity, and technology inspire me. Color, line, form, and texture are prominent design elements in my creations. My bold and colorful sculptures incorporate many different materials and processes in order to get my ideas across.

 

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Sophie Lee

Sophie Lee uses packaging and plastic and weaves them with the idea of using them as a canvas but they become works within themselves.

 

This show opens Friday, January 11th 2019 with an opening reception from 5-7pm and will be on view thru March 1st 2019.

 

Collage & FUSE, the art of Asher and Muse

 

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Opening November 23rd, 2018, The Reclaimed Room Gallery presents Collage & FUSE, the art of Asher and Muse. It features the works of two Bayview based artists, Lani Asher and Jes Muse. Together, they bring the hard and soft in the juxtaposition of mediums. From paper to metal and vinyl to glass, Asher and Muse find whatever materials they can use and reuse to create two and three-dimensional works of art. The Opening Reception will be Thursday, November 29th from 5-7pm. This exhibit will be on view daily through January 4th with the exception of December 25th and New Year’s Day.

Lani Asher

Untitled, by Lani Asher

Lani Asher lives and works in San Francisco. She maintains a studio in a San Francisco industrial park alongside motorcycle and classic car repair shops and Chinese food wholesalers. Born in Los Angeles, Lani Asher attended the University of California Santa Barbara where she studied with Charles Garabedian, John McCracken, and James Turrel at the College of Creative Studies. Afterwards she moved to New York City and taught art, worked at an erotic bakery, and attended film classes at NYU and Columbia. She spent a year studying video, photography, book making, and film at the Visual Studies Workshop in Rochester, New York. After living in Madrid, Spain, she landed at the San Francisco Art   Institute in the New Genres Department for graduate school. During her independent study project in Brazil she created a video examining the relationship of Brazilian Baroque art and architecture to the beauty of imperfect pearls, and transgendered Brazilian sex symbol Roberta Close. Over the years she has taught art for numerous Bay Area non profits, including teaching art to prisoners, elders, artists with disabilities, and is an online arts writer. Find her online thru laniasherart.com .

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City, by Jes Muse

Jes Muse, a resident of the Bayview here in San Francisco, is a native New Yorker with BFA from the State University of New York at Purchase. Jes is a third generation artist following in the footsteps of her grandmother, Jean Cobean, and her mother, Lisa Muse. Having found a balance between the aspects of the mid-century modern shapes and forms of Jean’s sculptural stone work and the figurative forms of Lisa’s two-dimensional works, Jes creates work ranging from mid-century inspired, brutalist works to figurative three-dimensional constructions. Jes enjoys reclaiming industrial refuse like railroad spikes, horseshoes, horseshoe nails and live-edge wood from the forest floors and northern California rivers. Jes’s incorporation of railroad spikes is a tribute to her father’s work as a Track Supervisor for the commuter railroad in New York.

The main body of Jes’s work is in steel and glass. Having different cooling and heating points, steel and glass are not the most compatible mediums. The glass becomes marred by the sparks created in the act of welding and if heated too much will crack and split apart, so it is a challenge to secure the glass well enough without overheating it. Jes dabbles in many mediums and was recently inspired by the work of Bay Area duo, t.w. five, to create pieces with adhesive vinyl, in fact, you may have seen her cruising around in the Mondrian Volvo Recently.