S
CATHY ROSE
SUSAN SILVESTER JOHN RANDALL NELSON
DANNY MCCAW
MARIANNE KOLB TYSON GRUMM
DANNY MCCAW
He traces his ar tistic career back as far as he can remember. From the beginning his life has been immersed in the ar ts. Ever y one around him was creative and instilled a love for drawing, painting, writing and photography. He would later join his father and brother in the studio, picking up other lessons that would influence his ar t making.
McCaw earned his high school diploma in (1996) at that time he won a grant for his ar tistic per formance, after which his increasing dedication to painting and drawing led him to abandon his university education. In his early work, he was often influenced by classic, traditional and modern ar t. McCaw creates a ebb and flow between reality and abstraction he often merges, combines, and layers all these forms of ar t to build rhythmic compositions. Soon, McCaw cast a wider net from his influences to the materials, using sanders, floor scrapers, tar, wax, and anything lying around his studio- materials expanded his “palette” but still remains rooted to those early influences.
Danny McCaw Was awarded the Wright Foundation Grant in 2002, was chosen for the inaugural cover for American Ar t Collector 2005, was chosen as the top 30 ar tist under 30 by Southwest Ar t in 2004. Danny was awarded Best Of Show for Window to divine 2014. Danny has been in numerous national and international ar ticles most recently featured in Southwest Ar t “Success Stories” 2012, American Ar tist “50 Greatest ar tist” 2012 and the Chinese publication Focus 2011. Danny has exhibited most recently at California Museum of Fine Ar t, California 2013, Long Beach Museum, California 2013, Lancaster Museum, California 2012 and Russell Museum, Montana 2010-2013. Danny has been collected worldwide in private and corporate collections.
Orange Horizon
Oil on canvas (framed) 60" x 48" $18,000
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Blue Horizon
Oil on canvas (framed) 20" x 18" $3,200 Inquire
Box Seats
Oil on board (framed) 30" x 24" $6,300
Gold Chair
Oil on board (framed) 30" x 24" $6,300 Inquire
Thankfulness
Oil on canvas (framed) 40" x 30" $9,000
MARIANNE KOLB
“I‘ve seriously considered painting a burden, though I do consider it my only means of understanding the world, and, in fact my only means of feeling at home in the world. I don’t know what I feel and think until I paint. Painting is my only means of bringing each day about – making peace with myself and creating a place in which I fit into. I tr y to turn my external environment into an inward reality – it’s one of the things that makes me – it takes from me and it gives to me.
“The human figure is the vehicle with which I can most positively relate. I’m preoccupied, fascinated and curious about the solitariness and mysteriousness of human beings. The more developed my curiosity becomes, the more acute, the more complicated, complex and suggestive the world around people becomes. I am also driven and guided by sensor y impressions: noise, color, texture, smell, shapes, expressions, tone, language and light.
“I don’t approach the canvas with a par ticular image in my mind. I go to it with pigment in my hands and do something to that piece of material in front of me, then work almost at random until the image begins to asser t itself. This action depends on the imponderable and I welcome the accidental – it creates an arena in which to act. The questions that I always ask are: what do you want to be, what do you want from me and what do you want me to do. Sometimes the painting becomes the answer – in other words, I am not tr ying to prove anything. I am the one who is learning.”
Holding Your Promise in My Hands
Mixed media on linen (framed) 20" x 16" $4,200
Space Between the Space Around Me
Mixed media on board (framed) 24" x 19" $4,500
Zahara
Mixed media on canvas (framed) 25" x 22" $5,600 Inquire
Spending an After noon Approaching Lavender
Mixed media on canvas (framed) 25" x 22" $5,600 Inquire
Waiting for Dew Drops to Fall
Mixed media on canvas (framed) 28" x 25" $6,000 Inquire
CATHY ROSE
“I’m an ar tist. I’ve been saying this since I was nine and now I’m 62 and I think I’m star ting to believe it.
“It’s been twenty years since I left teaching to pursue my work full time. twenty years of sitting quietly each morning in my studio, molding literally thousands of small faces and figures out of porcelain, smoothing each crease and mark with the same clay tool in my hand I’ve used for all of those years. It’s a soothing and meditative process to feel the clay move, taking shape, slowly emerging from something so simple as a ball of powdered sand and water. Porcelain is the finest of clays, pure, smooth and white, you can stretch it as thin as paper or mold it into the most minute of shapes. Its fragile beauty belies its strength. Its temperamental character challenges me, torments, confounds and fascinates me. It’s an old friend which comfor ts me in dif ficult times, the familiarity of the routine, of hands working in simple repetitive gestures they’ve known for so long, my mind and breathing focused only on coaxing life from it. It’s magic, really, to change something primitive and simple into permanence.
“Seventeen years of being taught by the same teacher and still more to learn. Ever y morning, the same lesson, ever y morning a new lesson.I cannot remember a time when making ar t wasn’t the center of who I am and not just what I do. It's been my mirror, my teacher, my solace. It's how I let you see me.
“My early work in sculpture, 25 years ago, appears raw and intense, angr y, sad -- a longing in them dif ficult for me to see when I look at them now. The eyes are closed, the mouth open, the gesture of their hands, the tilt of the head and rigid shoulders, the arms reaching out and up and feet set wide apar t all convey an anguish. I didn't think about what I was doing. I didn't think about what the pieces were saying. I just kept moving my hands. It was fear, loneliness and grief that pushed me to that unconscious place, but it liberated me. And it healed me. ”
Hand-formed clay assembled with altered wood, leather, metal and found object
13" x 17" x 7” $1,300
Places in Between
Hand-formed clay with altered cedar and found objects 20.5" x 11" x 8” $4,700
Paint
Antique paintbrush, hand-formed clay, leather and found object 11" x 6" x 1” $600
Hand-formed clay, leather, metal and found objects 26" x 13" x 4” $1,200
Hat 2
Blessings
Hand-formed clay, acr ylic paint and found objects 15" x 30" x 8” $4,300
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JOHN RANDALL NELSON
“Nelson embraces the concept of ar tist as stor y teller. His symbolic amalgamations, which often consist of a central image superimposed over a collage of symbols and text (anything from ar t criticism to nurser y rhymes), make intuitive sense of the inundation that we experience in what Nelson sees as our “over-communicated, how-to world.” Bits and pieces from daily life are placed, layered, painted, sanded and repainted; in this persistent, almost obsessive editing and rearrangement we find the grammar of Nelson’s private language. And because the constant reworking of the sur face and the rearranging of form describe the process of discover y and creation, the paintings end up being narrative in two ways: they ask us to invent our own stories based on the images and messages that Nelson uses, but they also present the “stor y ” of their own creation and invite us to share the restless, somewhat anxious journey of the ar t-making process.
“The strength of the work lies in the terrain between the narrative and the abstract, between what is immediately accessible to the viewer and what remains obscure. Masked in Nelson’s faux-naive style is a complex formalism designed to both present and obscure meaning. “Ambiguity and metaphor are central to my work,” says Nelson, “I think the ambiguous is more interesting, more engaging. Because there is always something more to discover it reveals itself more slowly and it has greater longevity.”
No Bees or Butter flies
Mixed media on panel 59" x 44" $8,500
Oh Bueno
Mixed media on panel 40" x 28" $4,700
Fresh Young Poppies
Mixed media on panel 48" x 36" $6,200
Some Retur ning
Mixed media on panel 36" x 48" $6,200
Ray Ban
Mixed media on panel (framed) 15" x 13" $1,200
TYSON GRUMM
Tyson Grumm’s freeze-framed images capture a world where the only clues to the past and the future can be derived from the figures located within fantastical surroundings. Consequently, each work reveals a stor y that is only par tially told, enabling each viewer to contribute their own unique stor y to complete each of Grumm’s works. His paintings invite us into a unique and often nostalgic world of imaginative imager y.
The ar tist relies on common objects from his surroundings to provide a cer tain degree of familiarity in his work. The motifs appear to him as he begins painting and then, begin to work themselves into his composition. His figures appear to be both characters and caricatures, distinctive and unusual, and often with historical significance. Created entirely in the mind of the ar tist, these color ful and imaginative works juxtapose seemingly incongruous elements, such as humans, wild animals, and whimsical back drops within each frame, resulting in a surreal topsy-tur vy world.
Grumm has exhibited widely throughout the USA and internationally. His works can be found in many private and public collections in Europe and the USA.
Unor thodox
Acr ylic on wood (framed) 15" x 20" $3,500
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Moonshiner
Acr ylic on wood (framed) 18" x 24" $4,800
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50¢ Special (The Collector)
Acr ylic on wood (framed) 14" x 16" $3,000
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Mono-bug
Acr ylic on wood (framed) 20.5" x 14.5" $3,200
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The Red Coral Hunter
Acr ylic on wood (framed) 15" x 15" $3,000
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SUSAN SILVESTER
“Susan Silvester is an interdisciplinar y ar tist who is originally from NYC, before presently making her home in Sacramento. Working in a variety of materials, she explores the possibilities of what dif ferent mediums express by using the same imager y.
“Her past work included creating sculptures for the Macy’s Thanksgiving parade, life-size monsters for a New Jersey shore theme park, sculpted props for numerous TV commercials, such as the Pillsbur y dough boy, Twizzlers candy, Teddy Graham cookies. She also sculpted animation models for Pee Wee’s Playhouse, Santa and the Snowmen (computer animated TV movie) and built sets for the retired Universal Studio’s Back to the Future ride. Her work experience honed her sculpting and painting skills and opened her imagination to the world of fantasy in pop culture. While living in NYC, Susan also has experience in fabrication and created ar twork for Rober t Rauschenberg, Tom Wesselman, and Marisol.
“Her work experiences reinforced her ar tistic abilities to work in a variety of materials that create technically sound ar twork. After getting her MA in painting at CSU in 2010, the concepts of creating fair ytale-like narratives seem to be a natural blend of her work experience with her own personal memories.”
Bee Friends 4 Ever
Beeswax, damar resin, oil paint and pastels on wood 20" x 16" $1,800 Inquire
Up and Away
Encaustic, mixed media on panel 20" x 16" $1,800
damar resin, mixed media on wood cradle 16" x 16" $1,500 Inquire
Green Damsels
Beeswax,
Best Buds
Encaustic and mixed media 12" x 12" $1,200