Artist Statement
My practice as a painter and printmaker has led to fluidity across media, borrowing approaches from one to inform a wider array of media. Whether painting, etching printing plates, assembling collages, or designing cut-paper installations, I navigate between recognition and abstraction, simplifying color palettes while complexifying layers and patterns through construct-deconstruct-reconstruct processes.
I am drawn to collective entities that represent complex interconnections, are larger than the sum of individual parts, and that embody generative, fragile life.
I explore crowds as representative of ephemeral moments where individuals converge to form something abstract, yet familiar. I am fascinated observing the way people interact and negotiate between personal and public space, and I construct crowds that embody this tension. Our cities are formed, altered, and sustained by rubbed shoulders, blocked views, converging paths, diverging destinations, what is given, and what is taken. Greater density of our urban spaces necessitates greater attention to our social interactions, and within my practice, I am asking myself questions about how we can learn to live within the crowd.
My studies of animal collectives such as coral or butterflies also rely on processes of constructing, layering, creating patterns, and contrasting negative and positive space. As with crowds, I am considering ideas about individual and collective identity, alteration, and sustainability.
Alamo, CA
“Flowers Appear in the Spring”
“Your Garden Revealed”
“Nature Sings Again”
2022 Acrylic on wood panel
James C. Leonard James C. Leonard“The work of Leonard, one of California’s leading abstract expressionist painters, is often influenced by German painter Gerhard Richter. “I’m pulling paint, layering one layer at a time, which creates a sense of history in the painting. It’s like looking at a fence post that’s been repainted over a period of time. You can see the different colors and layers,” he explained about his process. His paintings can have up to thirty or forty layers. Leonard has exhibited internationally, and his paintings can also be found in private and corporate art collections across the United States and Europe.”
– Hamptons.com, Nicole Barylski, November 2020
https://jamescleonard.com/resume/
Ray Beldner
Ray Beldner
San Francisco, CA
“Clown’s Smirk”
2022
Collage on laser cut plywood
“The Together Colored Instant”
2021
Acrylic pigment prints on laser cut plywood
Holly Wong
Holly Wong
San Francisco, CA
“Keeper of the Secrets, 1, 2, 3”
2022
Collaged paintings and drawings on wood panel
BIOGRAPHICAL STATEMENT
Holly Wong lives and works in San Francisco, California. She was educated at the San Francisco Art Institute where she graduated with a Master of Fine Arts with a concentration in New Genres. Holly creates installations, assemblages and works on paper, integrating non-traditional approaches with more traditional sewing techniques associated with the history of women. Her approach is both non-conventional but also deeply rooted in her history and culture. She has been awarded visual arts grants from the Integrity: Arts and Culture Association, Barbara Deming Memorial fund, the George Sugarman Foundation, the Puffin Foundation, and a Gerbode Foundation purchase award. She has had over 70 group exhibitions and 10 solo exhibitions. She is represented by SLATE Contemporary Gallery in Oakland, California, ELLIO
Fine Art in Houston, TX, and is a member of A.I.R. Gallery in Brooklyn, New York.
Liz Mamorsky
Liz Mamorsky
San Francisco, CA
“Tarzhay”
“Tie-Dye Skate-Guy”
“Faqman”
“Big Boyrilla”
E-waste Construction on wood armature
My analog Artbots are culled from the detritus of technology, a never-ending stream of e-waste. The speed of technological redundancy is astounding. No sooner is a new product created than it is rendered obsolete. I am the recipient of a small portion of that obsolescence. Living and working in San Francisco, CA, I have access to Silicon Valley and reclaimed electronics of all ilk. Large motherboards from the Cobb Mountain and Geysers power plants in northern California, emblazoned with gaudy resistors and capacitors, flesh out and clothe these wall-hung Bots constructed on wooden armatures. I also find PC boards and keyboards in scrap yards and dismantle computers and other machines to retrieve a vast array of electronic gewgaws. Hard drives, esp. the old ones, have marvelous innards: copper coil stepmotors, stroboscopic timing wheels, platters and their separators. New drives are more compact but still contain jewel-like mini-parts. Cell phones too house beautiful components. Each free-standing piece is built on a wooden armature, wired to hang on the wall.
