48 PILLARS 2019

March 2 - April 6, 2019

Exhibition Statement 48 Pillars was inspired by a chance encounter at Flax with a close-out sale of deep vertical panels, 48” x 12” x 1 5/8”. 24 local Bay Area artists will produce two pieces each on these identically sized panels that will exactly ring the gallery – 48 works total.

This is the third annual iteration of this exhibition at Arc Gallery. Along with our iconic FourSquared exhibition, this is essentially about "structural constraint". In both exhibitions, the artists are unconstrained in subject matter except to the extent that works need to be a series; but they are constrained in format. One might expect that constraining format would constrain creativity. Our experience has been the opposite - creativity has been unleashed. The results have been visually stunning.

Michael Yochum, Curator

Catalog design: Michael Yochum Logo design: Priscilla Otani Arc Gallery © 2019

Participating Artists Pilar Agüero-Esparza

Derek Nunn

Cherisse Alcantara

Sandy Ostrau

Salma Arastu

Jenny Phillips

Sue Averell

Lisa Reid

Mark Bauer

Sawyer Rose

Diane Tate DallasKidd

Ron Moultrie Saunders

Lynn Dau

Sahba Shere

Lisa Toby Goodman

Brian Singer

Crystal Kamoroff

3 Fish Studios: Annie Galvin & Eric Rewitzer

Philippe Jestin

Mimi Chen Ting

Andrew Li

Albert Toscano

Lola

Jenny M.L. Wantuch

OPENING RECEPTION: Saturday, March 2nd, 7-9pm ARTIST TALK & BRUNCH CLOSING RECEPTION: Saturday, April 6th, 12-3pm

48 Pillars

March 2 - April 6, 2019

Pilar Agüero-Esparza

To investigate issues of culture, race, labor and domesticity, I employ a range of mediums including drawing, painting, printmaking, and sculpture. I work with materials which dictate a certain process of investigation and of which I am connected to in specific ways – materials such as scraps of my daughter’s homework assignments from first grade or heaps of leather lace from my father’s shoe shop. The characteristics, physical presence and signifying potential of materials such as these – the materiality of objects – inspires me to analyze how things are made, consider who makes them, and examine the physical or social conditions that are involved.

Through this process, I create works that question the inequities of race, gender and class to engage viewers in specific cultural and gender experiences. In representing these experiences in my works, I acknowledge their value and power.

The panels I created for this exhibition, employ the language of abstraction in painting and are connected to my exploration of the skin tone palette of colors. The lines, shapes and compositions are informed by weaving patterns found in textiles and leathercraft. Despite that the color palette is “neutral” I see power dynamics represented in the non-chromatic colors of beige, brown and black. I want the viewer to see these paintings as “racialized abstractions” and consider social dynamics and hierarchies within our culture.

website: https://pilaraguero.com/ email: info@pilaraguero.com

DarkWeave

LightWeave

acrylic on wood panel 12" x 48" panels $1500 each panel; $2400 diptych Pilar AgĂźero-Esparza

Cherisse Alcantara In these two paintings, I continue my investigation of the figure inhabiting a moody and atmospheric space.

By utilizing the figure in motion, I create open-ended narratives that seek to communicate the themes of transformation, metamorphosis, mythical quest and the search for identity and belonging. I am particularly interested in the figure in a precarious state, in how the inner changes can manifest through the form, and the idea of breaking free. Metamorphosis is explored through the mutation and regeneration of the body, where dance and swimming become transformative acts. The landscape serves as an internal and psychological space, where the process of rupture and change takes place. These pieces are composed as a diptych with a narrative approach, and meant to be opposites and complementary to each other. With multiple layers of oil paint, depth of color, nuanced tones, and brush strokes, I build the atmosphere and the figure which I find during the painting process.

website: http://www.cherissealcantara.com/ email: cherissealcantara2@gmail.com

Vertical Figure 1

Vertical Figure 2

oil on canvas over wood panel 12" x 48" panels $1850 each panel; $2950 diptych Cherisse Alcantara

Salma Arastu Celebration of Calligraphy I am creating my current series of paintings to enlighten and awaken the spiritual connection of universal humanity through lyrical and fluid imagery of Arabic Calligraphy. I find myself yearning to find infinite possibilities of the lyrical line itself on large canvases. I just want to plunge myself into the pleasure of contemplating the abstract flow of the swelling lines, and form compositions of lines and fields within given space and enjoy the celebration of calligraphy through lyrical visions.

My purpose is to reach out to a broad community in the pursuit of peace; to celebrate diversity, and create a positive interfaith dialogue through visual art that subtly penetrates the human heart to evoke response.

My method is physical and meditative in a process that fills each canvas with moving lines and intricate textures and multi-layered colors. For me creating art means getting physically involved with the piece; scratching, sanding, and layering, embroidering details in pen and ink or adding materials like paper, modeling paste, paper Mache or copper, to create paintings that incorporate my cultural and spiritual viewpoint to interpret contemporary social issues.

website: https://www.salmaarastu.com/ email: salma@salmaarastu.com/

Near God, is The One Best in Conduct

The Noblest Among You

acrylic and paper on wood panel 12" x 48" panels $1800 each panel; $3200 diptych Salma Arastu

Sue Averell

A professional painter for nearly three decades, Sue Averell’s vibrant and whimsical paintings are renowned for their dramatic color, texture and expressive, flowing lines.

Sue Averell grew up in Southern California. She attended Art C enter College of Design in Pasadena, where she gained an in-depth knowledge of drawing, composition, painting technique, and color theory.

Averell’s style began to emerge in 1999 after leasing a studio space in San Francisco. The open space and secluded location allowed her the necessary solitude to work on large scale pieces, something that had been calling to Sue for years.

Since 2001 Sue’s Urban Landscape series has been represented and sold through several US galleries. Her paintings are included collections in the US, London, Switzerland, France, Germany, Thailand, Singapore, Israel, Mexico and Canada. Additionally, Averell is awarded on average 12 commissions annually by both corporate and private collectors.

When asked how she keeps her creative practice fresh, “My style continues to evolve, and it is the evolution that inspires me to continue to grow and explore as an artist.”

website: http://sueaverell.com/ email: sue@sueaverell.com/

Changing Skyline Dolores Park Afternoon acrylic on wood panel 12" x 48" panels $3400 each panel; $6000 diptych Sue Averell

Mark Bauer

My images are derived from multiple sources. The contrasts and activity of my paintings reflect the voyage through a human dominated world with its perplexing and unpredictable realities. I use humor and sarcasm in my art to help me cope with humankind’s folly of self-destruction. Is it possible that human’s privileged intellect can be used to save us yet or will we continue to exploit our world to the point of no return?

website: http://www.mmarkbauer.com/ email: mmarkbauer@gmail.com

Everlution A Everlution B acrylic on canvas, mounted on wood panel 12" x 48" panels $2000 each panel; $3500 diptych Mark Bauer

Diane Tate DallasKidd

The Folded Series is about transferring the inspired moment to the viewer. Pieces are composed by intuitive acts of folding paper which become translated to painted reliefs.

Folding requires the hands to envelope the material, layering planes of space over and unto itself. Lines multiply with one stroke of applied pressure from my finger tip. It is in this space of creasing planes that I am intrigued to find a sense of balance and poetry.

website: http://dianetatedallaskidd.com/ email: hello@dianetatedallaskidd.com/

Folded Dreams

Diane Tate DallasKidd

acrylic paint and modeling paste on wood panel 12" x 48" panels $3800 diptych

Lynn Dau My Left Ear I am a builder with an affinity for found objects who uses a variety of materials and processes. I use sculpture and assemblage to investigate themes related to identity, gender roles, division of labor, work equality, personal fulfillment, self-worth and contemporary parenting. These themes, although personal in origin, speak to the human condition and the complexities of interpersonal relationships. There is nothing exceptional about home, marriage, and family, so I find it natural to incorporate ordinary objects as I visually explore the dynamics of domestic relationships and everyday lives.

When embarking on this project the word “pillar” resonated with me as I immediately connected it to my existing art practice; for mothers are one of the metaphorical pillars supporting the home.

The Old Fashioned Way, references feminism still in transition. Despite feminist gains, today’s working mothers carry the baggage of traditional gender roles. Even enlightened couples struggle with the allocation of domestic responsibilities, and mothers still tend to assume too much psychic responsibility for the family’s wellbeing. Living the Dream, with its candy-colored flatware, alludes to the fantasies promoted by the old Disney movies where princesses fall in love with princes and both live happily-ever-after; stories that never hint at the challenges, obligations and responsibilities that come with marriage and parenting.

website: https://lynndau.weebly.com/ email: lynndau@gmail.com

The Old Fashioned Way

Living The Dream

mixed media including cast aluminum, found objects, and interior latex house paint on wood panel 12" x 48" panels $2350 each panel; $3800 diptych Lynn Dau

Lisa Toby Goodman I’ve always loved the way the world and its light can be organized within the viewfinder of a camera. It’s what drew me back to photography after taking a twenty year hiatus. I left photography feeling confined by its rigid rules. After painting for two decades - immersed in the visceral, sensual and abstract qualities of paint - I returned to the camera with a freedom and emotionality only hinted at in my earlier work.

I take long, hand-held and flashed single exposures - embracing movement - not avoiding it - creating abstracted time-suspending images.

Photographing in this way allows for surprise and nuance. It’s not the beauty of perfection I’m after, it’s the imperfect and sublime grace that is revealed in the senescing of life. It is here that I find the suggestion of a fragile mortality where the passage of time lingers.

For as long as I can remember, the natural and botanical world has been my primary source of inspiration. It has become my life’s work, as a landscape designer, and artist. I celebrate the grace and transitory nature of beauty and of being alive. Plants and flowers, like people, live, decay, and die. Each contributes something unique to life’s precious and fleeting splendor. process: each wood substrate is shellacked with three gesso coats. The third coat is added for texture as the image is projected onto the surface. It is then printed on a Flatbed UV Cured Acrylic Pigmented Inkjet printer at Magnolia Editions. Oil paint is then applied selectively to the surface and sides.

website: http://www.lisatoby.com/ email: lisatobygoodman@gmail.com

Lisa Toby Goodman

Rhododendron photograph printed & oil painted on shellacked & gessoed wood substrate 12" x 48" panels $5800 diptych

Crystal Kamoroff

A response to a world gone mad, this work touches on the idea of the natural world as a remedy. I am interested in how one re-orients, re-aligns and re-sets themselves amidst chaos, lies, exploitation and greed. How to grow the proverbial antlers and whiskers to stabilize and balance ourselves, so that we can wake every day and continue to fight and resist. When one spends time in nature, one begins to feel something considerable. Natural objects can be appreciated beyond their direct utility and immediate usefulness, so a greater resonance can be felt that grounds and connects a person.

website: https://www.crystalkamoroff.com/ email: crystalkamoroff@gmail.com

Sticks, Stones & Bones to Wish On

Chasms and Other Holes to Listen

ceramic. underglaze, wood. grout. epoxy 12" x 48" panels $2000 each panel; $3700 diptych Crystal Kamoroff

Philippe Jestin

My work is inspired by the human figure and finding ways to create an object visually ambiguous, offering different lectures between figurative and abstract, going back and forth, open to the potential of a fluid perception.

My initial interest in the representation of the folding of fabric designs over the body led me to create poses of the human figure with stripes and subtracted spaces. Through my craft, the resin cast on the panel creates a relief on the surface interacting with the white background. These “positive” and “negative” spaces can be seen as completing and/ or competing with each other, depending on how the translucent reliefs of resin interact with the light and the viewer’s physical and/or emotional stance.

website: https://www.philippejestin.com/ email: phijes@earthlink.net

Up and Down # 1

Up and Down # 2

resin on wood panel 12" x 48" panels $2000 each panel; $3600 diptych Philippe Jestin

Andrew Li

Li’s artwork captures the movement of the busy world around him. There is little distinction between the form and content of Li’s work. All aspects, from ink-splattered process to finished piece, are integrated. What emerges encapsulates how the eye reads the urban environment; how it latches on to certain details and summarizes others, how it makes sense of all the dizzying activity encountered on a busy street.

Li's work been exhibited nationally and internationally. A true product of his native Shanghai, Andrew Li’s (b. 1965) most frequent inspirational subjects are cityscapes, modes of transportation, animals, and groups of people. These themes, like the artist himself, are almost always in motion, moving through cities rendered with a precise, selective attention to detail and perspective. Li joined the Creativity Explored, a non-profit visual arts studio for artists with developmental disabilities in 1990.

website: https://www.creativityexplored.org/artists/andrew-li email: info@creativityexplored.org

Untitled A

Untitled B

graphite on wood panel 12" x 48" panels $600 each panel; $1100 diptych Andrew Li

Lola I manipulate tinted epoxy resin to create abstractions. I begin each piece by choosing the colors. The colors reflect a feeling but can also impact my emotional self. As I pour, a form begins to appear on the surface and a dialogue begins. These forms are similar to characters in a play. They speak to me and guide me to create their shape. Eventually, they interact and engage with one another. There is an unspoken language between them, one I cannot hear but instead, feel. The language has an emotional value that taps into a different part of our brain. The challenge in creating this type of abstraction is leaving the emotion unidentified. With each artwork, my intent is to create an experience. I allow the viewer to think, feel and find their unique significant meaning.

website: http://lolasartwork.com/ email: lola@lolasartwork.com

Lola

Knee Deep tinted resin on panel 12" x 48" panels $5200 diptych

Derek Nunn

Embellished wood panels have been used throughout history to adorn all manner of human habitats from homes, temples, and gardens to theatres, shrines, and inns.

The pillar shape in particular has been carried abroad from its usual structural role as column and beam into the realm of decoration, homage, lamppost, and wayside marker.

In the process, inlays of every imaginable material have been etched upon the malleable surface of wood both to partake in and to contrast with its organic character. Such works are always alive as the materials are transformed differently by age and wear as time leaves its indelible signature in fading and cracking, patina and lustre.

These two works of mine condense many of these themes by both exposing and laminating the wood they are built upon with variously geometrical, lexical, and organic elaborations. But finally it is up to the viewer to decide in what language they speak, just what they portend, and in which direction they lead.

website: http://www.art4lifesf.com/ email: derek@art4lifesf.com

Wayside Marker I Wayside Marker II acrylic and mixed media on wood panel 12" x 48" panels $1600 each panel; $2500 diptych Derek Nunn

Sandy Ostrau In my art and in this series, Shadow Talk, I have taken scenes of everyday life--people, places and activities--and reduced them to their fundamental elements. I have stripped away the superfluous detail and minutiae of the moment in order to present each scenario in its essence. At a certain point, specific content is not that important or even relevant, but rather what appears to be going on, creating situations that can be observed or contemplated in more universal ways. This sense of ambiguity or vagueness allows for a range of interpretations and assumptions, for viewers to perhaps add their own content, emotions or undercurrents, overlaying what they think is happening with their own explanations. To heighten their engagement, I use texture to create a sense of dimensionality, a perception of three dimensions in two, thereby inviting viewers to "step into" each composition as if they were actually there, and to participate in their own narratives.

website: http://www.sandyostrau.com/ email: artist@sandyostrau.com

Shadow Talk 1

Shadow Talk 2

oil on wood panel 12" x 48" panels $2200 each panel; $3600 diptych Sandy Ostrau

Jenny Phillips The two panels presented here evoke memories of walking through coastal woods and forests, in particular the play of forms, repetitive patterns and negative spaces created by tree trunks. The panels echo a broader theme in my work concerning the representation of mood, luminosity and texture of space, light and organic form. I focus on feeling, rather than ideology or narrative, and like to explore the subliminal emotions brought about by our reactions to the environments that surround us. Using the interplay of line work, and subtle color, I seek to balance simplicity of expression with rich sensory qualities.

website: http://jennyphillips-studio.com/ email: jenny@jennyphillips-studio.com

Fragment 1

Fragment 2

encaustic, mulberry paper, india ink on wood panel 12" x 48" panels $2300 each panel; $3700 diptych Jenny Phillips

Lisa Reid

A second look that calls the viewer back is of high priority in my paintings. Metaphors are employed with each image as I look for why I am painting a particular piece. Landscape is my chosen reference, but usually just the framework for a deeper viewpoint about something I see about life. I love oil because of its rich saturation and soft edges that suit my brushwork. Trying to capture a sensuality and spiritual feeling comes from my own inner callings and hopefully bring the viewer to a peaceful, calm place when they look at my paintings.

website: http://lisareid.com/ email: lisareid53@mac.com

Lisa Reid

Love in the Nest oil on panel 12" x 48" panels $3800 diptych

Sawyer Rose

Both sculptural and painterly, the bas-relief forms in California Agave I & II are clad in scales of silver solder, as if their delicate bodies are growing the armor they need to flourish in our ever more hostile environment.

Using the flowing, organic texture of the metal as my primary mark-making medium, there is eloquence and beauty in the act of self-protection.

I began these pieces by creating a template shape of the agave plants in thick copper foil. Next, I laid down the first layer of texture in silver solder-- like painting with molten metal. I added dimension to the works by placing beads of solder to create depth and contrast. The pieces were then covered with a rich black patina, and burnished with steel wool to bring out shining highlights on the raised peaks, while leaving dark in the valleys.

website: http://www.sawyerrose.com/ email: sawyer@sawyerrose.com

California Agave I

California Agave II

silver solder, copper, oil on wood panel 12" x 48" panels $2300 each panel; $3700 diptych Sawyer Rose

Ron Moultrie Saunders The plant portraits take us beyond the surface to reveal an intricate and delicate beauty. By looking at the pincushion seeds from different angles I am investigating a way of expressing its life force. I create photograms to awaken our curiosity of the plant world. Photograms, a 19th century photographic process, are made without the use of a camera by laying objects on the surface of silver-based photographic paper.

The paper is exposed to light from an enlarger to create a shadowy silhouette image. Pincushions in Squares and Pincushions in Circles are an exploration of combining a 19th century technique and digital processes to achieve the appearance of a cyanotype. The black and white photogram is scanned and then digitally colorized to create a digital cyanotype.

website: http://www.ronmsaunders.com/ email: ronmsaunders@gmail.com

Pincushions in Circles

Pincushions in Squares

archival pigment print of photogram mounted on wood panel 12" x 48" panels $2000 each panel; $3200 diptych Ron Moultrie Saunders

Sahba Shere

Sahba Shere is a Bay Area- based artist whose work is inspired by her workd travels and deeply influenced by nature and meditation. These ethereal, dreamy and traquil paintings were drawn time spent in the natural world and landscapes of Cambodia and Vietnam.

A painter and photographer, Sahba's work is widely collected by individuals, corporations and institutions. Passionate about bringing art into people's everyday lives, she actively supports charitable causes with her art and art practice.

She also regularly hosts and curates the popular Sahba Salon series at her studio and in galleries, connecting multi-disciplinary artists with art enthusiasts.

website: http://sahbashere.com/ email: sahbashere@gmail.com

Ethereal Landscape # 1 Ethereal Landscape # 2 acrylic on wood panel 12" x 48" panels $2600 each panel; $4200 diptych Sahba Shere

Brian Singer

I explore the printed word as a visual representation of information, attempting to uncover new meaning in what is becoming an outdated form. By deconstructing books and reassembling them, I seek to breathe new life into millions of hidden words, sentences, and stories.

In this series, I’m taking paperback books that have red or yellow edges, and sorting those edges into gradation patterns. Each piece has roughly 30,000 pieces of sorted paper.

Brian Singer, also known as “someguy", is a San Francisco based fine artist whose projects have received international attention. His art ranges from intimate works with paper to large scale participatory projects.

The 1000 Journals Project, launched in 2000, was turned into a book, a feature length documentary, and has been exhibited at the San Francisco Museum of Modern Art and the Skirball Cultural Center in Los Angeles. The project was covered in The New York Times, San Francisco Chronicle, Wall Street Journal, Entertainment Weekly, Better Homes and Gardens and many others. More recently, he launched the provocative project TWIT Spotting, where photos of people using their phones while driving were placed onto Billboards in the San Francisco Bay Area.

website: https://someguy.is/ email: someguy@1000journals.com

Transitions # 7 Transitions # 8 paperback books with acrylic UV finish on wood panel 12" x 48" panels $2200 each panel; $3800 diptych Brian Singer

3 Fish Studios: Annie Galvin & Eric Rewitzer

Annie Galvin is a painter. Eric Rewitzer is a printmaker. The couple met in Berkeley in 1998, were married in 2001, and opened 3 Fish Studios in 2006. Today their Outer Sunset studio has become a hub for the burgeoning art scene on the outer edges of the City.

48 Pillars presents an opportunity for the two to combine their artistic practices into a signature piece, titled “One and Done.” Eric frequently uses natural subjects for his woodcuts, and after a long walk in the newly reopened Miraposa Grove in Yosemite National Park in the Fall of 2018, he saw this tree, serendipitously called the “Faithful Couple”, and based this woodcut on the image he captured of it.

Eric hand-carved the tree on a block of basswood, and made only one print from it. The ink from that impression remains on the block. The print made from that impression was then festooned with California native flowers, hand-painted by Annie.

For the first time in his art practice, Eric is selling his block as an art piece. Normally this block would be used to print an edition of 50. In this instance, the block has been used only once, to create the companion print displayed here.

website: https://www.3fishstudios.com/ email: hello@3fishstudios.com

One-and-Done woodcut (L) & woodcut print on Rives BFK with acrylic hand-painted flowers (R) on wood panel 12" x 48" panels $6000 diptych

3 Fish Studios: Annie Galvin & Eric Rewitzer

Mimi Chen Ting

"Using her studio as a place for reverie where memory and sensation can coalesce into form, Mimi Chen Ting has kept her sense of childlike wonder alive. The forms, geometries and intersections of her paintings radiate a sense of potential: her painted worlds are products of a mind that doesn’t know how to be bored. The artist’s vital inner life first developed as a kind of self-protection—she learned early on how to be quiet—and her cloistered imagination has blossomed into an aesthetic garden of transitory and precious emanations. She seems capable of endless variety and has no interest in finding a formula or firm structure: to do so would be self-defeating. Mimi Chen Ting’s art is a triumph of the intuition and a restorative for anyone who recognizes the evanescence of true inner peace."

-John A. SeedI have not worked within a narrow vertical format such as required in the 48 Pillars since early calligraphy training in my childhood, and due to its inflexible nature and my preferred practice, neither have I desired particularly to work on a board, except in construction. Now my perspectives have happily shifted…

website: http://mimichenting.com/ email: mimi@mimichenting.com

Counting Sheep acrylic on wood panel 12" x 48" panels $4800 diptych Mimi Chen Ting

Alberto Toscano

Over the past 10 years I have dedicated myself to exploring the plasticity of polymer clays, which has taught me innovative uses of the medium. This project combines acrylic paint with pieces made from modeling clays. The result is free stroke drawings with a childish, fantastic and fun tone; the iconography handles a level of ambiguity and sarcasm in a dreamlike scenario: acrobats performing , lurking animals, self-absorbed clowns, helpless monsters and weird beings, all of them coexist in the same habitat dancing over a surreal tree of life while a suspended face watches the spectacle.

Art is a place where I experience the meaning of freedom, anything is possible, the non-existent slowly reveals itself.

Alberto Toscano is a self taught artist, born in Mexico where he studied Business Administration. In 1991 moved to San Francisco and studied photography with Alejandro Stuart in an informal studio established in the older artist's atelier. In 1993, together with a group of Latino artists, he founded Colectivo PeĂąa Sur. which was the first underground Latin American cultural center in San Francisco.

Toscano's work has being acquired by private art collections both in the United States and abroad, and has been seen in numerous exhibitions worldwide. He currently lives in San Francisco.

website: https://albertotoscano.weebly.com/ email: alberto.toscano00@gmail.com

Genealogía I

Genealogía II

acrylic and polymer clay on wood panel 12" x 48" panels $2500 each panel; $4500 diptych Alberto Toscano

Jenny M.L. Wantuch My paintings Morning Meditation and Soaring Above are based on a plein air painting that I created on a sunny fall day by the riverbank of the Little Truckee River in Tahoe, California. My husband and I had escaped the hazardous air that had engulfed the Bay Area for days. The painting is an expression of my appreciation of our environment that we so easily take for granted. Being able to see clearly and breath deeply the fresh mountain air evoked my deep gratitude for being alive.

In my studio, I create larger scale paintings built on my direct observations and notes from life. I honor the fresh, abstract qualities of the shapes, and further develop the composition and a color palette that evokes the emotions of being in that particular place at that particular time.

Growing up in Sweden where spending time outdoors was an essential part of life has influenced me to feel a deep connection with the natural world. In nature, I find endless inspiration for my creativity. My goal is to spark joy, excitement, and a moment of reflection of the vitality of nature.

website: https://jennywantuch.com/ email: art@jennywantuch.com

Morning Meditation

Soaring Above

casein on wood panel 12" x 48" panels $2300 each panel; $3700 diptych Jenny M.L. Wantuch

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