Featuring the works of Elias Medici

Spring Wallpaper by Elias Medici

Available to view now, we present the works of local artist Elias Medici. All items were built from reusable or abandoned products. Whether it was paint tubes left outside the YMCA in the inner Richmond, or a Craigslist post about canvas being dumped. Elias focuses on large scale abstract paintings that “will cover your boring, white walls.” He is always looking to reinvent items left on the street, as done with his “Shinder’s block’ cinder block candles. Please find @eliasmediciart on Instagram to connect or see more artwork and upcoming displays. A casual “meet the artist” event will be held on Saturday, June 3rd from 2-4pm, please join us!

Alchemy: An Art Exhibit

Reclaimed Room Gallery returns with a new show Saturday, March 26th, featuring Lynn Stone and Gerald Chambers. The Opening Reception is to be held at 5pm 3\26\22 with refreshments on hand, and musical accompaniment by Don Prell with his stand up bass, made from recycled parts. The show will be on view through May 10th, 2022.

MC Nubian, by Gerald Chambers

Gerald Chambers

The Coronavirus provoked me. Stuck at home, worried about the future, and forced to find something to focus my anxious mind, I turned to found object art. I had never worked in this medium before, but the pandemic forced us all to do things we never did before. I set out to sample items that I could make rhyme.

Art makes a statement. Art is a way to resist. Art is a way to relax. Art can help us heal. Art is an open invitation. Art is a receipt for your life.

Gerald B. Chambers


Toy and Tool Together Again, by Lynn Stone

Lynn Stone

Certain apparently worthless and ruined things draw my eye. I pick them up and bring them to my studio, believing that they are inherently more valuable than they appear. They hang about until I put them together with other elements. That is the work, the magic of changing a thing from base to precious. The root of my process is a traditional way that artists have long used to create. I listen, look, and am amazed by the “A-Ha” moments that serendipity generates. I apply this process to my work whether I am making jewelry, art, interior design or even an entire building. Since I collaborate, I cannot take all of the credit for the creation, or all of the blame. Yet nothing I make is completed until others engage with the object. When a person wears the jewelry, sees the art or enters the building, the work is completed by them; through their feelings, thoughts and experience. That is how something valuable is created from something ordinary, showing me that we all have the potential to be extraordinary. Then, the alchemy is complete.

Lynn Stone


Please join us Saturday, March 26th for our Opening Reception to celebrate this new show. No RSVP required, we will have spaces designated for social distancing, hand sanitizer, and a public restroom available as well. Feel free to contact us with questions, 415-285-7814, 9am to 4:30pm daily.


by Jeanette Conley

Opening Friday, July 9th, we introduce the works of Jeanette Conley, a local artist who paints onto tiles, largely sourced in our shop. Jeanette will be on view through September 3rd, 2021.

Artist Statement

I remember loving to mix flower petals in water for color mixing. My mother is an artist who always encouraged us to draw and paint. In high school, we were fortunate to have a prospering art department and I wove on a loom, forged metal, and crafted an enamel ring.
I wanted to attend art college in New York City, but my high school counselor recommended becoming a florist or accountant. Like others, I was told to get a career and then pursue your art. Eventually I landed on nursing and attended Russell Sage College. During my college years, I went to Bermuda and felt like Winslow Homer painting watercolors there.
Since then, I have been doing art in some form and taking classes. Here at City College, I started with oils. I currently study painting with Larry Robinson at Oakdale Studios.
Along the way, I took up the art of tiling and have designed three bathrooms, my kitchen, and numerous other nooks and crannies. During a recent visit to Building Resources, I saw tile as an irresistible blank canvas. I knew immediately that I had to paint vintage robots on them. So here we are.


Progressive Grounds Coffee Shop, Bryant Street, 2011

Artspan Open Studio, Bernal Heights, 2019

Sebastapol Center for the Arts – Member show, 2020

Sebastapol Center for the Arts – Ecstasy the Beauty of Nature, 2021


On November 7th, 2020, we are opening a new show, “RECLAIMED” with local artists Jakub Kalousek and Sofia Carmi. Their show will be up thru January 7th, 2021.

by Jakub Kalousek


Standing in an unfamiliar bathroom, tired & naked & wet in a strange shower stall, reaching for the towel only to grab the empty towel rack & accidentally pull it from the moldy plaster wall, so it falls to the tile floor with a clatter. The broken half of cork that drops inside the bottle of wine. The sought-after object of desire trapped behind the thick glass window of a closed shop in a foreign city you are flying out of that night. The misplaced wallet. The loose hinge. The leaky faucet. Driving at night on a country road, suddenly noticing the gas gauge – how long has the needle been on empty? In Jakub Kalousek’s sculpture, the accident has either to yet happened – or it has just happened but the irrevocable consequences have only partially (not entirely) become clear. In the instant before total tragedy, comedy reigns supreme. Leona Shoustakis, “Pair&Thesis” #14, 2012.

Waterfall in Silver, by Sofia Carmi



Sofia Carmi’s Paintings are created from her impressions of our challenging times using art materials that have been reclaimed and repurposed. Her process of combining torn paper and torn canvas creates an atmosphere that is an excursion into a different realm for Miss Carmi. It captures a feeling of the chaos inherent in the world and her interpretation of it. This technique allows her to explore the intersection of chance and planning. This series utilizes torn paper and torn canvas and acrylic paint as the main medium.

IMAGINARY ARCHAEOLOGY: Dead Sea Scrolls & Global Warming

The Dead Sea Scrolls are painted and interpreted in creative ways, bringing back the past of the actual Dead Sea Scrolls and the memories of Sofia’s travels and her life in Israel, her birthplace. On her last trip in 2018 to the Dead Sea, she went with fellow artist Guy Campbell, who photographed the abandoned Dead Sea area. The Dead Sea remains a spiritual treasure to Miss Carmi and to many, for the beauty of its desert landscape, and for the healing in the mineral waters. Yet, the devastating effects of global warming are alarming. The Dead Sea is shrinking, experiencing both a general lack of rain and devastating floods, like the one which they experienced in the spring of 2018.

The imaginary Dead Sea Scrolls is a response to these beautiful memories and also to facing the harsh reality of global warming.

Dead Sea Scrolls, by Sofia Carmi
Dead Sea Scroll, acrylic on paper with burnt edges 20″x16″
Cutting Edge Ocean, acrylic on canvas 36×24″ by Sofia Carmi

Please join us for an Opening Reception being held here at the gallery from 5 – 7pm inside Building REsources at 701 Amador Street, San Francisco 94124. The show will be on view thru January 7th 2021.


FANPLASTICAL features works of two artists, Chad Moore & Laura Diamondstone, responding to the abundance of environmental plastics. Chad’s pieces respond with playful and dimensional replication of the molecular structures of polymers. Laura’s pieces coerce textural and jewel-like surfaces from bubble wrap integrating with other mediums. Their works will be on view March 6th through April 24th 2020. The opening reception will be held Friday, March 6th from 5-7pm.




by Chad Moore


Chad Moore

My Mother, who worked at Walmart for many years, told stories of fights that broke out during Black Friday sales. Grown-ups fighting like children over discount merchandise. Often the sheriff’s department needed to intervene. These stories seemed outrageous, almost unbelievable, but were true and, in a way, sum up my interest in human consumption. Particularly the consumption of fast-moving consumer goods that are purchased often, used quickly, are relatively cheap and sold in volume.

In my work, I address questions about consumerism through sculptures and installations created with the leftover packaging of consumables and related materials of all types – plastic shopping bags, shampoo and water bottles, various cords, cable and tubing, etc. I make a wire framework and attach the materials on top of one another. The impetus for some of these pieces springs from the debris found in San Francisco, a result of homelessness and mental illness, as well as a physical manifestation of the failures of consumerism for the individual. On a macro level, this series addresses the fusion of our detritus with the natural world and the food chain, such as the Pacific Garbage Patch or plastics that are consumed and digested by birds and marine life.

My drawings and paintings often begin from photos I take walking around the city – from pigeons feasting on a discarded bag of chips, to Burger King’s advertisement for a Whopperrito, to the glaring eyes of a mascot on children’s cereal boxes. Often, I print out multiple copies of an image, cut them up and collage them on canvas, panel or paper in a frenzied, swirling pattern. They form a type of landscape or meteorological phenomena resembling an “Inscape” as first depicted by the Chilean painter, Roberto Matta. An Inscape has been described as “the psychoanalytic view of the mind as a three-dimensional space.” In my work, they represent a place where the drive for consumption enters the deeper stratum of our unconscious; where logos and mascots can be mistaken for gods and demons, nacho sauce and soda mimic primordial seas and the vast spaces of big box stores become the fertile plains of the Storm God.




by Laura Diamondstone

Laura Diamondstone 

The series began as a response to a mountain of bubble wrap in a new studio space; unwrapping an insurance company’s move of salvaged works and materials after a flood in my last SF studio space. At first, the mountain lived by an exit waiting to be transported to landfill. But it presented an irresistible challenge if not moral dilemma for diversion. It began with popping, tearing, stretching, painting, and heating. The exploration transitioned from a determined challenge against a pollutant and toxin to utilizing the material with an appreciation of bubble wrap’s pliable and mysterious qualities. Bubble wrap’s life cycle now transcends its destiny with purpose as a medium for art making.

Am I Dead Yet

San Francisco artists Robin Dick and Sandoval explore and celebrate life, love, and loss through mixed media using discarded and found artifacts, reclaimed wood, paper, string, photographs, plastic, metal, and objects from nature. Am I Dead opens Friday, January 10th with refreshments from 5-7pm and will continue to be on view through Feb 21st, 2020.


Circle Study, by Robin Dick

Robin Dick

Using her subtle sense of art and design, Robin invokes complex feelings by blending ordinary and found objects. Motivating her work is a strong desire to work with her hands and communicate artistically in a non-digital medium.

In her constructions, she merges her passion for the aesthetic nature of objects with inspiration from travel, music, the beach, and the many people who’s lives have touched her own.

Robin was born in Vancouver, British Columbia, and raised in the Midwest. After some formative years in Colorado, she headed farther west, landing in San Francisco where she’s resided since 1988.

She earned her Bachelors degree in Design from the University of Kansas, with minors in metal smithing and painting, as well as an Associate’s Degree in Design from the Art Institute of Colorado.

Artist Statement

I have always been drawn to the way objects and images make me feel. My process starts with my tendency toward accumulation – the gathering of the silent bits and pieces that occupy my world…clues that might someday speak to me as I search for links between myself and these precious, discarded raw materials.

Sorting through an arsenal of found treasures – mined everywhere from the street, and trash bins, to flea markets, estate sales, and antique stores – I decide which objects I want to use, always searching for an emotional and spiritual connection between myself and these materials.

As I begin to position objects together – adding and subtracting – I move forward, never feeling satisfied until I’ve reached what I feel is a visual absolute. The merging of my personal feelings with the alchemy of textures, color, and materials is key.

Over time, my compositions begin to reveal a nature behind my materials, enabling me to create works that mirror my own feelings and communicate my discoveries to others as well.

It’s rare that a piece is meticulously planned; it’s a very spontaneous process. Though these pieces are outwardly an assembly of visual elements, the work’s origin stems from my intuition and emotions.


Block art 2, by Rondoval



Ron Sandoval’s creative talents are inspired by his passion for paying attention to the the small details and artful beauty of nature, little structures and odd mediums. His childhood dreams of floating fantasies like lilies in a fountain are recreated in his work as an artist, landscape and floral designer, where his imagination and depth of vision are suspended in his works. His breakout was his LACMA installation in 1990, where his recycled use of rose stems as a crucifix, sphere and box, caught the attention of the LA art world and catapulted him onto the Hollywood scene where his pioneering work influenced the floral design industry internationally. Fleurish, his acclaimed Los Angeles design studio on Beverly Blvd, attracted regular clients such as Quincy Jones, Yves Saint Laurent and Judy Knapp.

Artist Statement

My work concentrates on the mythology of process and elements of nature. My installations’ emphasis is in the pockets of natural curiosities and the beauty of their materials. One can reflect, meditate and interact with the importance of recycling. Through this woven balance of mystery and ever changing nature, , we can hear the message of “conserving the life on earth.”








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

womens work postcard front

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.”


Dale Eastman website photo2

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.



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.



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.



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.



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).



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.








full size front

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.


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.


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.



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.