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Guerrero Gallery Founded in the spring of 2010, in the Mission District of San Francisco, California, the gallery represents a select group of exciting emerging and mid-career artists that work through a variety of media. Focusing on the development of the artists’ work and career, an environment of growth and inspiration is being presented with heart and conviction to an international audience. With a commitment to support the furthering of each artist’s career, the gallery is dedicated to developing and maintaining relationships with other contemporary galleries & museums, and with the press. Placements in both public & private collections worldwide and participation in well-respected fairs are key facets to this commitment. | | 415.400.5168 | 1401 Thomas Avenue San Francisco, CA 94124

Hilary Pecis

Hilary Pecis’ work is a depiction of landscapes influenced by Internet, television and other media sources. With an interest and focus on the interchangeability of images and the capability to perceive and ignore them, Pecis draws attention to how we are conditioned by the media’s overwhelming supply of information. By manipulating these images to form a combination of the two, her attempt to create an association between them is evident. Her works spotlight the media’s ability to influence and sometimes distort our perceptions, through a flood of readily available information. Her work is influenced by artists Jess (Collins), Marco Brambilla, David LaChapelle and Rob Pruitt. Hilary is a native Californian, having received both her MFA and BFA at California College of the Arts. She has exhibited her work at Catherine Clark in SF, Roberts and Tilton in Los Angeles, Halsey McKey in New York, Western Exhibitions in Chicago, and in Italy, for Galleria Glance ( Turin ) and Sweden for Gallery Steinsland Berliner ( Stockholm ). Price Range: $500 — $3,500 Medium: Digital Collage

Terry Powers MFA -Stanford University

Price Range: $2,000 — $6,000 Medium: Oil on Canvas

Patrick Martinez

Since the vivid days of Patrick’s childhood he was always drawing or scribbling on something. In his teenage years circa early 90’s, he was introduced to Hip Hop culture and exclusively to one of its elements, graffiti. Graffiti remains an influence in his work. Hip Hop has influenced his art ever since he understood what it was about, movies like “Wild Style” and “Style Wars” turned him onto the Hip Hop movement in his earlier days. In 1994 he attended Pasadena High School Visual Arts and Design Academy where he learned and practiced his image making skills. Patrick graduated high school and moved on to Pasadena City College. Patrick spent three years at PCC experimenting, developing his artistic skills and trying to find a hint of himself at the same time. He kept a steady career doing illustrations and design work mainly for underground and mainstream record labels that catered to the Hip Hop community. In 2001 he was ready to take on the next stage of art discipline. This led him to apply to Art Center College of Design in Pasadena, where he received a bachelor of fine arts. Patrick focuses on the phenomenology of his surroundings. He brings sublime beauty to things that aren’t thought of as conventionally beautiful. He uses subject matter such as everyday people that aren’t usually painted into the limelight and elements of the city that would be thought of as objects we take for granted. He uses these objects as communicative mediums. Patrick works with intellect and intuition in creating pieces of art that reflect and document situations that are ever present around him. Vitality and rhythm are the essence and energy in his artwork. Price Range: $2,000 — $6,000 Medium: Neon Signage

Ryan Travis Christian

Ryan Travis Christian was born in Oakland, CA 1983. Graduating with a B.F.A. from Northern Illinois University and now living outside of Chicago, he bides his time as an artist, curator, and writes for the Bay Area based art blog Christian has been reviewed on fecalface. com, Time Out Chicago, and The Comics Journal with a feature in the current issue of Beautiful Decay, “What a Mess”. Recent curatorial endeavors include West, Wester, Westest! @ FFDG, S.F. and Sports! @ Synchronicity, L.A., and Control C, Control V at EBERSMOORE. With an upcoming, 3 part project @ Western Exhibitions. He has exhibited work @ Dogmatic/Butcher Shop, Roots and Culture, Western Exhibitions, FFDG, Synchronicity, and Infinity @ Scion Installation, LA and will be showing work @ Space 1026, Guerrero Gallery, and POVEvolving. Ryans’ images are constructed using abstract elements (pattern, and organic smoke/vapor like formation) comic utilities (like sub panels and motion lines) and old fashion cartoon iconography. He uses these components to anchor his story and or experiences so he can hopefully connect with a broader audience. “Not everyone loves That 70’s Show-esque, small town, stoner folklore. I have always believed that the best art is a combination of first hand experience melded with visual devices that have withstood the test of time,and have been used and re-used through out history”. Price Range: $1,000 — $8,000 Medium: Pencil & charcoal on paper

Adam Feibelman

Adam Feibelman was born and raised in Albuquerque, New Mexico. He took to the art of graffiti, a path that would eventually take him to the California College of Arts and Crafts (recently renamed the California College of the Arts). His studies in printmaking and illustration won him the Yozo Hamaguchi award in printmaking, and a BFA with distinction. It was at CCAC where Adam came to know the massive world of art. Most important for him was the sweep from classic American photography, which he took as a realistic portrayal of the history of America, of the life and times of its people, to the freedom of modern and contemporary painting. Based on those influences, and reflecting his fast-moving imagination, Adam’s paintings have taken on a satirical look, challenging concepts of modernity, using spaces as a language to describe forgotten places, and light to evoke their story and context within the present, our time. In the years following his formal education, Adam’s knowledge of printmaking and savvy ability with spray paint developed into a love and talent for painting using stencils. His stencils represent hundreds of hours of meticulous work and fine detail — the hallmark of his works. He currently lives and works in San Francisco and exhibits frequently. Price Range: $1,000 — $4,000 Medium: Hand-cut paper & spray enamel on paper

Sam Friedman

American artist Sam Friedman has been producing art in Brooklyn, New York, for the last decade. Tending to reflect the natural world, his work is simultaneously loose and precise. Friedman moves between representational and abstract depictions with seeming ease and spontaneity. His earliest “beach paintings”, completed in 2008, originated from his experience of walking towards the sunset during an oncoming storm. This personal encounter of induced visual clarity prompted in the artist’s mind the precise image for a fully formed painting that incorporated the language he had been developing in his earlier abstract work. This focus has occupied the most of his explorations then, resulting in a body of work that continuously breakdown and rebuild a natural landscape. Born in 1984 in Oneonta, New York, Friedman spent his childhood by-passing the real world and resorting to daydreaming and drawing. At eighteen, upon graduating from high school, he moved to Brooklyn to study commercial art at The Pratt Art Institute. Following four years of illustration and typography studies, he earned his livelihood by realizing commercial artwork for companies and publications such as Nike and The New York Times. Nevertheless, during that period, his personal practice focused on painting. Eventually, he decided to move on from commercial affairs and engage in activities with other artists, which would ultimately contribute to his art. Taking advantage of his applied art beginnings, Friedman has embraced techniques, traditions, tools and materials of commercial art trades. While negotiating their incorporation in proper artworks, Friedman uses these skills as an initial basis to freely compose visually striking works. He finds inspiration in other great artists with similar approach such as De Kooning, Leger, Lichtenstein, Lewitt, and Westermann. Price Range: $1,000 — $10,000 Medium: Acrylic on Canvas

Ben Venom

With a focus on traditional craft, a seemingly almost extinct skill in today’s highly digitized world, Ben’s work aims to bring light and exposure to the hands-on work. Ben Venom’s pillows, quilts and embroidery simultaneously mock and pay tribute to the encounter between two seemingly opposing forces. His interest in bringing together traditional handmade craft and the extremes of Heavy Metal culture is not an attempt to organize chaos into conservatism, but to provide a reinterpretation through a different medium. Ben Venom received an MFA from the San Francisco Art Institute and currently lives in San Francisco. Price Range: $1,800 — $10,000 Medium: Hand-made quilts. Leather & vintage heavy metal t-shirts.

Alex Lukas

Alex Lukas’ highly detailed works on paper and intricate artists’ books examine a possible future of destruction and violence, coupled with rebirth and a quiet sense of optimism, alongside an examination of the contemporary landscape. His drawings contrast the contemporary reality of post-industrial cities with fictitious portrayals of an impending end-time. Lukas’ work refers to 19th-century grand depictions of the American landscape – where the land we inhabit was a place ripe for discovery questioning the premise of strength and promise inherent in that tradition. Filled with allusions to habitation, Lukas examines how we commemorate our experience of place and the way we communicate outside the digital realm. By declining to answer the pressing question of “What happened?” his images remain devoid of a clear narrative and instead ask viewers to reflect on their own experience, values and concept of loss and re-growth. Lukas’ recent installations have incorporated plant life, florescent lighting, industrial shelving and discarded construction materials. Coupled with diazotypes, unique photocopies and offset lithographs – all recently or almost antiquated methods of reproductions – alongside his drawings, Lukas utilizes these materials and mediums as a means to question traditional depictions of time and narrative, specifically past versus future. Alex Lukas was born in Boston, Massachusetts in 1981 and raised in nearby Cambridge. With a wide range of artistic influences, Lukas creates both highly detailed drawings and intricate ‘zines. His drawings have been exhibited in New York, Boston, Philadelphia, Los Angeles, San Francisco, London, Lima, Stockholm and Copenhagen as well as in the pages of Megawords, Swindle Quarterly, Proximity Magazine, Dwell Magazine, Juxtapoz, Art New England and The New York Times Book Review amongst others. Lukas’ imprint, Cantab Publishing, has released over 40 small books and ‘zines since its inception in 2001. He has lectured at The Rhode Island School of Design, The Maryland Institute College of Art, University of the Arts in Philadelphia and The University of Kansas and has been awarded residencies at the Jentel Foundation, AS220 and most recently The Bemis Center for Contemporary Arts in Omaha, Nebraska between September and November 2013. He is a graduate of the Rhode Island School of Design and recently moved to Chicago, IL after basing himself for many years in Philadelphia, PA, where he was part of the Space 1026 artist collective. Price Range: $800 — $15,000 Medium: Acrylic, gouache on paper mounted to panel

AJ Fosik

By transforming and elevating the simple materials of wood, paint, and nails into wondrous and glorified creatures, Fosik explores and challenges the concept of belief as virtue. The transformation process serves as a metaphor for the hucksterism of the holy classes. Consisting of hundreds of individually cut pieces of wood, vividly varnished and strategically placed, each of Fosik’s pieces undergoes full woodshop gestation, a trade he taught himself. Evocative of American Folk Art, drawing inspiration from a wide range of cultural backgrounds and religious iconography, his sculptures are “existential fetishes.” They are abstractions of multiple systems’ definition of the unknown, intended to shake complacency and challenge preconceived notions of faith and its power, through genuine scrutiny. According to Fosik, his creatures “stand as a reminder that dogma is a corruption of the creative impulse.” In the same vein though, they are “a celebration of the power and potential of human ingenuity and creativity.” AJ Fosik grew up in the shadow of Detroit, Michigan’s rusting, post-industrial corpse. After attending school at Parsons School of Design, Fosik repeatedly uprooted himself, moving all over the United States. He has lived in Brooklyn, Detroit, San Diego, Denver, Philadelphia, and now Portland – allowing each place to add to his repertoire of influences. Price Range: $1,800 — $15,000 Medium: Wood sculptures & spray enamel

Richard Colman

Colman was born in 1976 and grew up in leafy Bethesda, Maryland, a suburb of Washington, D.C.. Colman graduated from the School of the Museum of Fine Arts, Boston, Massachusetts in 2002 and has exhibited extensively throughout the world in both solo and group shows. In 2006 Ginko Press released a book cataloging his work titled “I Was Just Leaving”. Colman currently lives and works in San Francisco, California. Recent exhibitions include Black Diamond at V1 Gallery in Copenhagen and Mad Love Young Art in Private Collections at the Arken Museum Of Modern Art, Denmark. Through drawings and paintings, Colman uses his own characters to create complex compositions which seem to focus on the tension between nature and civilization. The human and animal characters Colman uses may be nude or dressed, and interact specifically with each other, images of nature, and objects of civilization. These characters and objects connect with patterns, structures, and color spectrums, often creating compositions which appear continuous and ever-changing. Drawing on the unpredictability of patterns in nature, hierarchies, and totems, Colman illustrates what might be a reminder that nature is chaos and our ancestry is animal. Price Range: $2,000 — $15,000 Medium: Gouache on Canvas

Andrew Schoultz

Sourcing inspiration from 15th Century German map making and Indian miniature paintings, Andrew Schoultz’s frenetic imagery depicts an ephemeral history bound to repeat itself. In his mixed-media works, notions of war, spirituality and sociopolitical imperialism are reoccurring themes, which shrewdly parallel an equally repetitive contemporary pursuit of accumulation and power. Intricate line work, painting, metal leaf and collage twist and undulate under Schoultz’s meticulous hand, ranging from intimately sized wall works to staggering murals and installations. While his illustrated world seems one of chaos and frenzy, Schoultz also implies a sense of alluring fantasy and whimsy - a crossroads vaguely familiar to the modern world. Schoultz (b. 1975, WI) received his BFA from the Academy of Art University, San Francisco (CA). He has had solo exhibitions in Los Angeles, New York, San Francisco, Copenhagen, Philadelphia, Rotterdam, Boston, London, Portland, Detroit and Milan. He has been included in group exhibitions at the Andy Warhol Museum (PA), Torrance Art Museum (CA), Havana Biennial (Cuba), Hyde Park Arts Center (IL), Laguna Art Museum (CA), San Francisco Museum of Modern Art (CA), among others. His work can be seen in the public collections of the San Francisco Museum of Modern Art (CA), Los Angeles County Museum of Art (CA), Frederick R. Weisman Foundation (CA) and the Progressive Art Collection (OH), in addition to his publicly funded murals in Portland (ME), Jogjakarta (Indonesia) and San Francisco (CA). Schoultz lives and works in San Francisco (CA). Price Range: $2,000 — $15,000 Medium: Acrylic on wood panel

Cleon Peterson

“A psychiatrist once bought one of my paintings, and he said I must be mad at my mother (laughs). Maybe, I don’t know. I’d say that part of what I’m painting are things that I feel like I’ve experienced – when I was at the low points in my life; when I was living on the streets, and a junkie…” “I have always had a brutal sadistic perspective and for some reason my sense of humor usually ends up taking things to an uncomfortable place. I am always drawn to narratives that evoke a sinister or devious side of culture, the tragic movies where everyone dies or where the hero winds up ordinary. I think there is a truth everyone can relate to in feelings of struggle, desperation, pain and failure. The grey area between the dualistic nature of authority in our world is where these paintings live.” Cleon Peterson is an LA based artist whose chaotic and violent paintings show clashing figures symbolizing a struggle between power and submission in the fluctuating architecture of contemporary society. Cleon’s paintings are monochromatic while channeling at the same time the fashion sensibility of the early 80’s, complete with skinny ties and day glow colors. Cleon received his MFA from the Cranbrook Academy of Art in Detroit, MI and a BFA in Graphic Design at Art Center College of Design in Pasadena. Past exhibitions include: “Trailblazers”, Boutwell Draper Gallery, Sydney, Australia, “Park Life”, Subliminal Projects, Los Angeles, Art Basel 2007 and “Mail Order Monsters” at Deitch Projects New York, NY, “Those Damn Yanks”, ‘The Occupation’ at New Image Art Gallery, L.A., The Leonard Street Gallery, London, UK, Monster Gallery, Sydney. He has been featured in LA Record Magazine, Juxtapoz, and Eyes Cream (Japan), Arkitip Issue No. 0005. And has been collected by international collectors, musicians and world art leaders such as Jeffrey Deitch. Price Range: $1,800 — $20,000 Medium: Acrylic on wood panels

Steve Powers

In 1999 Powers stopped writing graffiti and tending bar to dedicate himself to being a full-time artist. His work has been shown at the Venice and Liverpool Biennials, as well as numerous shows at Deitch Projects. Powers was a Fulbright scholar in 2007. He used the grant to paint in the streets of Dublin and Belfast. His work in Belfast’s Lower Shankill area was inspired by the area’s political murals; Powers told the New York Times that he was “taking the form of the murals, which are powerful for all the wrong reasons, and trying to retain some of the power and use it in a really good way.” Building on what he started in Ireland, Powers is now working on an ongoing mural project about the complexities and rewards of relationships titled A Love Letter for You. In Philadelphia, Stephen (call him ESPO) and his crew (call them ICY) painted more than 50 walls along the elevated train along Market Street in West Philly. The project, sponsored by a grant from the Pew Center for Arts and Heritage through the Philadelphia Exhibitions Initiative, and produced with the Philadelphia Mural Arts Program, has generated positive reviews from the New York Times, the Wall Street Journal, and The blog of Sean Combs. The accompanying book A Love Letter for You, shot by photographers Adam Wallacavage and Zoe Strauss, was published by Free News Projects and is now available. It is distributed by DAP in New York City. Powers is also the author of a book detailing his personal graffiti history, The Art of Getting Over (St. Martin’s Press 1999), as well as the graphic novel, First and Fifteenth: Pop Art Short Stories (Villard Press, 2005). Price Range: $3,000 — $25,000 Medium: Enamel on metal panel | | 415.400.5168 | 1401 Thomas Avenue San Francisco, CA 94124

New Collector's Catalog  
New Collector's Catalog  

An introduction to Guerrero Gallery and some of our core artists.