Like the darkness between stars that makes light visible, these quiet intervals become the very source of abundance. In seeking this balance, I've discovered that abundance lives not in accumulation but in the rhythm of give and take, the stillness and movement. Each canvas becomes a meditation on finding fullness through selection, and success happens when both energy and restraint dance together. - Shar Coulson
Blend In: Echoes is a continuation of my Blend In series reflecting on experiences with social anxiety. For me, social anxiety isn't just about bracing for the next awkward moment; it's also like my brain has a highlight reel of past social flubs that it loves to replay at the most inconvenient times. Seemingly out of nowhere, these random memories of slightly embarrassing encounters or moments I'd rather forget pop up like unwelcome guests. These mental reruns con-tribute to a persistent background hum of "what if" and "oh no." The sculptures in this exhibition playfully explore this phenomenon, each piece attempting to capture the quirky and sometimes absurd ways these unexpected mental intrusions can echo in the present. - Calvin Ma
This body of work explores alternative possibilities to structure development through mold making and slip casting processes. In contrast to ceramic factories’ conventional use of these methods for precise duplication, these works push the boundaries of these industrial processes to form one-off, unrepeatable forms. Diverting from traditional mold making key systems that align mold parts for consistency, this approach embraces variability - rotating, alternating, and reshaping mold components each casting. - Kyle Johns
The work references various landscapes and skies: a radiant pink sunset, a drizzly day on land by the sea, and fleeting subconscious visual impressions. I explore environments and how light changes them throughout the day, how it affects color, and how that, in turn, influences our emotions. Each piece considers the nuances of the time alongside personal memories tied to different environments and experiences. - Rachel Maxi
In this body of work, I take “man’s best friend” for a walk. We are going to the Dog Show to celebrate the complexity, wisdom, and cuteness of our longtime allies. From the domesticated pooch to the wild canine, the human fascination with dogs transcends time and geography. By referencing historical and contemporary depictions of dogs, I aim to show their deep connections to our lives. - George Rodriguez
Ten Photographs features a single work by each of ten photographers. The exhibition includes gallery artists Xavi Bou, David Burdeny, Carol Inez Charney, Cody Cobb, Joshua Jensen-Nagle, Jeffrey Milstein, Michael Wolf as well as works by new artists to the gallery, Kate Petley, Ingrid Weyland, and Reuben Wu. Showcasing unique visions and diverse approaches to contemporary photography and the photographic arts, the collection underscores the dynamic range of the medium as an art form and as a means of communication.
My work explores the fluid interplay between internal and external landscapes, connecting breath, spirit, and wind through loosely rendered, windswept scenes. These landscapes shift between abstraction and loose representation, reflecting the dynamic tension between form and formlessness. The term Ruach (spirit, breath, or wind) encapsulates the essence of what I seek to convey in my paintings—the invisible forces that shape our experience of the world. I see light as both a physical and spiritual presence, with internal light also related to the nervous system. - Sheri Paisley
26 years ago, I had the idea to do a show of all small works called 235 Ideas for Tattoos. This show was a reaction to what was going on in art in the early 90s. A lot of heavy concepts and use of tables and displays of objects and writing that seemed so pretentious and out of touch with creativity. I wanted art to be more fun and personal and way less precious. - Casey McGlynn
My paintings are fabricated environments full of wonder. While some suggest familiarity through the formation of landscape, I’m approaching the canvas with no direction in mind. Rather, I’m allowing what’s around me to lead to imagination and trail towards worlds that haven’t existed before. I have no interest in replicating that which already exists. I want to paint as if I’m dreaming. - Sara Pittman
My work is heavily influenced by meditation practices, serving as a guide for internal reflection and harmony with the external world. This body of work brings us into a liminal space between the vastness of our ocean and the timeless power of the sublime. A dreamlike world, connecting nature and the ethereal realm. Between Worlds brings out a world of colors and warm glows to give us a more personal and compassionate version of the universe, one that is in union with us. - Steven Nederveen
The Capricious Landscape invites viewers on a voyage through compositions that evolve with each step, mirroring the ever-shifting moods and thoughts of the observer. As one ventures deeper into the work, the scenery transitions from familiar forms to unexpected, fantastical terrains, reflecting the capricious nature of human experience. - Nicole Katsuras
When viewing Will Robinson’s sculptures, the raw, untouched surfaces of rocks as old as time remain plain to see. Through his process, cuts are made and forms brought forth, surfaces worked and varied, but the stone itself is never fully obscured. Robinson has a deep appreciation for the durability of his medium and the forces which formed it eons ago. He tells his story through stone, but he also reminds us that these rocks were here before us, and they will remain long after.