HOLIDAY OPEN STUDIOS - DECEMBER 3RD - HUNTERS POINT SHIPYARD

Holiday Open Studios at Hunter's Point Shipyard

December 3rd • 11AM-5PM • Building 101 • Studio #2113

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Please join me and Carol Jessen on Sunday, December 3rd from 11AM-5PM in Building 101, Studio #2113 at Hunter's Point Shipyard for the Holiday Party & Art Show. Thanks to the generosity of Artist Carol Jessen for sharing her studio with me, this is the first year I am able to participate in the holiday open studios. I will have prints and small works under $500 available for purchase. Free admission and parking. Family and dog friendly. 

Click here to RSVP on Facebook

Click here for directions

 

***Please note this event will NOT take place in my studio; I will be in the main Artist Building 101

 

Tracks and Echoes • DZINE Gallery • OPENING NIGHT PARTY 10/27 • 6PM 

OPENING NIGHT PARTY • 6PM-9PM • 128 Utah Street • San Francisco 

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Click here to RSVP on Facebook

Click here for DZINE Gallery's website

DZINE Gallery, the San Francisco design destination, has announced the opening of its latest exhibition, Tracks and Echoes, on October 27, 2017. Curated by DZINE Gallery’s Philip Bewley, the show features work by 22 local San Francisco artists including commissioned pieces created exclusively for the event. Tracks and Echoes will be the sixth show hosted by DZINE Gallery as part of their ongoing series of gallery events in support of local artists.

During the Oct. 27 opening night reception, countertenor Matheus Court and pianist Keisuke Nakagoshi from San Francisco’s award-winning Opera Parallèle will perform throughout the evening, launching the company’s six-month residency at DZINE. To complete her residency from the previous show, choreographer Amy Seiwert of the Sacramento Ballet will collaborate with Opera Parallèle to provide an accompanying dance to the musical performance. The music will be expressed in the video art of Future Fires projected onto the walls above the performers for a truly multidimensional, multimedia experience.

For Tracks and Echoes, the artists explore visual, temporal, and spatial dimensions using line and repetition in works of fine art. An additional theme reflects the timing of the show from winter to spring and the moods of these seasons found in the poetry of classic Japanese haiku, where the words "tracks” and "echoes" could be “kigo” or seasonal words. In this tradition, winter is a subject of memory; of things stripped to their elements, and an expression of an exquisite, if spare, beauty. The show progresses from the quiet, yet intense beauty of winter, to more polychrome works that suggest the stirrings of spring and the eternal cycle of renewal.

Exhibiting artists in Tracks and Echoes include: Paule Dubois Dupuis, Austin Forbord, Diane Foug, Laura Hapka, Howard Hersh, Gina Jacupke, Barbara Bryn Klare, Adia Millett, Lian Ng, Melissa Parhm, Lauren Parks, Carrie Ann Plank, Lucky Rapp, Rachelle Reichert, Georgina Reskala, Kenneth Sloan, Tabitha Soren, Christopher Stark, Jessie Thatcher, Nikki Vismara, Victoria Welling and Jon Wessel.

The opening reception on Oct. 27 is from 6-9 PM and is free and open to the public. DZINE Gallery is located at 128 Utah Street in San Francisco. For more information, visit www.dzinegallery.com.

Artwork on Display - May 2017

Here is a list of where I currently have work on display

DZINE Gallery - Burning Bright Exhibition 128 Utah Street, San Francisco, CA (through Oct 2017) I have two paintings in this group exhibition.

DZINE Gallery - Burning Bright Exhibition 128 Utah Street, San Francisco, CA (through Oct 2017)

I have two paintings in this group exhibition.

Slate Art Offsite Exhibition at 555 12th Street, Oakland, CA - March 30 - June 21, 2017. I have eight paintings on display.

Slate Art Offsite Exhibition at 555 12th Street, Oakland, CA - March 30 - June 21, 2017. I have eight paintings on display.

Khrome Studios - San Francisco Design Center - 101 Henry Adams Street, San Francisco, CA. I have one painting on display here. 

Khrome Studios - San Francisco Design Center - 101 Henry Adams Street, San Francisco, CA. I have one painting on display here. 

This work and paintings are available through Capstone Art, Los Gatos

This work and paintings are available through Capstone Art, Los Gatos

Upcoming Exhibition: June 2017 - The Zen Center, San Francisco California. Solo exhibition at The Art Lounge in the The San Francisco Zen Center, 300 Page Street San Francisco, CA.

Artist Reception: June 23rd, 6PM-8PM at Hotel Adagio

ArtSpan: Art-in-Neighborhoods Exhibition

One of my large abstract pieces was selected for ArtSpan's Art-In-Neighborhood exhibitions! 

When: Thursday, June 23rd

Time: 6PM-8PM              

Where: Hotel Adagio, 550 Geary Street (Click here for map)

Facebook: Join event here

About the Art-in-Neighborhoods Program
ArtSpan’s Art-in-Neighborhoods program serves the city of San Francisco by connecting communities with local artists while activating spaces with vibrant, locally-made artwork. ArtSpan partners with local businesses and building owners to bring art exhibitions and art events to businesses, dormant storefronts, and empty spaces for lease that seek artwork for their blank walls. Local artists who are ArtSpan members are given the opportunity to display, promote, and sell their artwork in these diverse venues. All aspects of the program allow otherwise unused walls, spaces, or properties to become creative arenas for celebrating local arts.

The Art-In-Neighborhoods program strives to create visibility and accessibility for local arts in San Francisco. ArtSpan provides the public with free, high quality arts exposure. Simultaneously, local ArtSpan artists are given the opportunity to promote and sell their artwork. Each of the Art-In-Neighborhoods exhibitions and community events will provide clear, consistent information about ArtSpan programing to educate the public about ArtSpan’s goals and how to become a supporter – by attending our events and buying artwork from local artists!

SPRING OPEN STUDIOS

It's that time of year again! 

Please join me and 150+ other artists as we open our studios to the public. I will be showing new work. There will be food trucks, artist demos, a beer and wine garden, and kid-friendly activities. Free onsite parking.

Saturday, April 23rd and Sunday April 24th

11AM - 6PM

Building 115, Studio 7

RSVP and invite friends to the event on Facebook here

For directions, click here

Art Gallery Etiquette 101 - How to NOT Behave at a Gallery Opening

Want to make as bad an impression as possible at an art gallery opening you've been invited to? Here's all you have to do to irritate and offend not only the artist and the gallery owner, but also anyone else in attendance who's seriously interested in seeing, learning about, or buying the art that's on exhibit.

***This is a condensed version of an insightful post by Alan Bamberger of Artbusiness.com. His website is an excellent source for both artists and collectors. You can read the longer version here.

Behavioral blunders for artists:

* Without asking anyone for permission, pass out your business cards, brochures, artist book or announcements to your upcoming shows to as many people as possible, especially the artist and the gallery owner... and then leave. Do this repeatedly at every gallery opening and art event you attend.

* When no one is looking, discreetly leave your business cards, brochures, show announcements or artist book at various locations around the gallery.

* If you know the artist or gallery owner, monopolize as much of their time as possible with conversations that the two of you can have anywhere and at anytime. Ignore the fact that the purpose of the opening is for the artist and gallery owner to do business and sell art.

* Ask the artist to talk to the gallery owner about you and your art.

* Ask the artist or someone who works at the gallery if they can give you any inside tips or advice on how to approach the gallery owner and get a show at the gallery.

* Badmouth the art in the show, and then tell whomever you're talking to how you would have handled it better.

* Whip out your cell phone and start showing people images of your latest art, especially if you're talking to the gallery owner or the artist.

* Pull a piece of your art out of your backpack and start showing it to people, especially to the gallery owner or the artist.

Behavioral blunders for everyone:

* Act like you're at a party and completely ignore anything having to do with the artist, the art or the business of running a gallery.

* Introduce yourself to the artist and then talk to them for as long as possible even though you have no intention of buying any art.

 * Introduce yourself to the gallery owner and then talk to them for as long as possible even though you have no intention of buying any art.

* If you represent or sell a product or service for artists, talk to the artist like you really care about their art and then when they least expect it, try to sell them that product or service. Do the same with the gallery owner.

* If you already know the artist or gallery owner, talk with them for as long as possible about things you can discuss anytime and anywhere.

* Tell gallery owner you really like a particular piece of art, ask them to put it on hold for you, and then wait a week or two before telling them you've decided you're not really interested.

* Tell the gallery owner you don't really like anything in the show and that you want to visit the artist at their studio to see whether they have anything there you might like more.

* Tell people the artist's art you bought three years ago is better than anything at the show and only cost half as much.

* Stand in front of a single piece of art with your friends and talk for half an hour straight without ever moving or even thinking about occasionally checking to see whether you're blocking anyone's view. Or stand near or preferably in an entranceway, doorway, hallway or narrow passageway with your friends and talk for half an hour straight without ever moving or thinking that you might possibly be blocking access or impeding the flow of traffic.

* Wander into the gallery's back room or storage area and start sifting through their art.

* Even though the catalogue for the gallery show is clearly priced and for sale at the front desk or counter, act like you have no idea and just take one. (Or, take some of the artist's prints on display assuming they are free promotional materials - N.V.)

* If someone is trying to get by you or around you, completely ignore them, stay right where you are and keep talking to your friends.

* The instant you arrive, head straight to the food and drink area and stand there eating and talking. Don't worry about blocking other people's access.

* Have no intention of buying any art or contributing in any way to the opening event, but consume as much food and drink as you can. If possible, act like you haven't eaten in a week.

* Complain about the quality or brand of FREE beer, wine or liquor that's being served.

* If hors d'oeuvres are being served, stand as close as possible to the staging area so you can serve yourself first as soon as any new food comes out.

* Set your empty wine glass down on a pedestal with art on it. Better yet, set it down while it still has wine in it.

* Hit on anyone you find even mildly attractive.

* Touch the art.

* Get drunk. Better yet, arrive drunk.

 

 

Open Studios at The San Francisco Shipyard

Please join me and 150 other Shipyard artists Saturday, October 17th and Sunday, October 18th from 11AM-6PM for Open Studios at America's largest artist colony. There will be food trucks, music, artist demos, a wine/beer garden, kid's activities, and even free parking. And of course art!

Stop by Building 115 and come say hello!

Salman Rushdie on Creativity

I recently listened to a great interview with author Salman Rushdie about creativity. I felt there were many parallels between his writing process and painting. He said the most difficult thing in writing is that the writing should not look difficult. This reminded me of Robert Henri’s advice about how painting should always look as if they were done with ease. Rushdie talked about how he tried to figure out why everyone hated his first book, which I felt was similar to keeping a bad painting and studying it to figure out why it is bad. My favorite part of the interview is Rushdie’s explanation about how publishing is similar to being naked in public. Below is an abbreviated transcript of the interview.

DESCRIBE YOUR WRITING PROCESS

I’ve always had told myself simply to treat it like a nine to five job. If you have a job, you just go and do it. It doesn’t matter whether you’re feeling good that day. If you’re a carpenter, you make your table. I don’t think that writers and creative artists can afford to wait for Julius to descend, or inspiration to descend. You have to just sit there and make yourself do it. That is a discipline that I really have developed. I can sit down at my desk every day and do my day’s work. I just do not give myself permission not to do it. And once your mind understands that it has no excuses, it’s remarkable how it begins to play along.

WHAT IS THE HARDEST PART ABOUT WRITING?

Bringing human beings to life on the page is a difficult thing. What’s most difficult about it is that it should not feel difficult to the reader– in order to create a living person on the page, which the reader and read and immediately recognize as that particular kind of living person– that’s really hard. The art that conceals art. A writer should have some interesting relationship with the English language, or whatever language they’re writing. That relationship changes over time. There are things that you do with language at one point in your life, and then you begin to feel that you’ve done that enough. You want to find new voices, new styles, new manners.

That constant wrestling match with the language is one of the best things about the job. I’m making it sound like it’s only hard work. It’s not. It’s actually the most enjoyable thing I could think of doing. I think that the moment at which I’m happiest in my life is when I’m writing a book, and I can feel that it’s working.

YOU SAID YOU DREAD PUBLISHING. WHY?

When you write, you fool yourself into thinking that what you’re doing is a private act, because you’re alone in a room. Nobody else is reading what you do. Three times it’s taken five years to write a book. All that time, it feels like something that is just privately yours, and nobody else’s. Then along comes publication. This thing that you thought of as a private act is actually an extremely public act. It’s very naked. People get to say what they think of you. It’s like I’m dressing in public.

YOUR FIRST BOOK WAS NOT WELL RECEIVED. WHAT MADE YOU KEEP AT IT?

One of the things that makes a writer a writer is that it’s something he really needs to do. It’s not just a choice of a job or a career. It really is in the old fashioned sense of a calling. It’s a vocation. Writing speaks to something very deep inside the person doing it. And it’s necessary. It’s necessary to the writer.

HOW DID YOU RESPOND TO CRITICISM?

Anybody who claims that they don’t care is probably lying. It was very upsetting. It was very shocking to me when my first book came out and was received unkindly. And very pleasing to me, by the way, that that book is still in print, and doing quite well, and that people seem to like it. You know, you lose the short game, but you win the long game sometimes.

But it was very shocking, and it was actually very helpful to me. Because what it did, after I got over the shock, was made me question, all over again, what I thought about writing and how to go about it. What did I think was wrong with that book? Never mind what the critics thought was wrong with it, what did I think was wrong with it. And it really made me go back and re-examine everything about my writing, and, if you like, start again in a different way.

You can read the full transcript or listen to the interview in its entirety here.

 

Open Studios - 4/25 & 4/26

Please join me Saturday, April 25th and Sunday, April 26th from 11AM - 6PM for Spring Open Studios at Hunter's Point Shipyard. I will be showing new work, and about 150 other artists will also be opening up their studio doors. There will also be food trucks, a beer garden, artist demos, and free onsite parking. Click here for directions. 

Staring at a Blank Canvas

Starting a blank canvas can be refreshing. It is sometimes a great feeling. It means that you have just finished yet another painting, and you have therefore accomplished something. Yet staring at a blank canvas can also be intimidating, frustrating, and self-deprecating.

Last week I went to my studio after an almost weeklong absence that included moving apartments and working as a production assistant on a film. I was excited to paint. I miss my studio when I am gone for more than two days. I would not waste time staring at a blank canvas because I knew exactly how I wanted my new painting to look. It would be a girl sitting in the back seat of a car painted in black and white. I had been thinking of this image for a while. Yet then I hesitated, thinking it might look better in a different palette. I thought about the chrome filter on my iPhone camera app, a Degas painting I had seen years ago at Musee d’Orsay, and this painting of a woman in a tub that I saw at the Fog Fair. I want to paint like that, not in black and white. 

Le tub by Edgar Degas (1886) 

Le tub by Edgar Degas (1886) 

I wanted to paint, but I was scared of making the wrong move. I was scared I will waste time and money and, even worse, the outcome will be bad. I did the worse thing possible: nothing. I couldn't paint. I needed time to think about it. 

This is one of the frustrating and time consuming things about being an artist, especially a painter. I feel like I have been painting long enough that I shouldn't have such hesitancy and doubt about my work. But I do. I tell people that I am an artist when people ask me what I do. It makes me feel like I am professional, regardless of how many or how few sales I have had this month. It is my title. Consuming my thoughts with doubt about my talents feels failure. 

I am normally pretty confident. Yet that can change the second I enter my studio and am staring at a blank canvas. When you paint, you are incredibly vulnerable and you open yourself up to criticism. You are going to be judged. You do not want to make the wrong move. 

I tell myself that with the more paintings I paint, the better I will get. I tell myself to just start painting. This self-doubt will go away.

I don't paint. Instead, I clean up my studio, write down some ideas, and read a post on Artsy about Hong Kong. Eventually, the voices of self-doubt and criticism in my head stop. I paint, and the time goes by fast. I paint, and you know what? It's not that bad after all.