MATERIALS: eggshell, borax, found rock
This small tableau consists of a rock, collected on a trip to Iceland for its perfect egg-like shape, combined with a crystallized eggshell to create a fanciful, fossilized specimen. The work alludes to the spectacular sculpting of nature across geologic time and references natural history museum display. The piece relates to my artistic practice of transforming varied materials through different processes to address perception, time, and elements of the natural world.
San Francisco artist Alexis Arnold has exhibited at the Aspen Art Museum, Napa Valley Museum, Whatcom Museum, Bergdorf Goodman, Southern Exposure, The Workshop Residence, The New York Hall of Science, and the San Francisco Arts Commission, among others. Alexis’ work is included in the collections of SFMOMA, MediaMath, the University of Pittsburgh, and Virginia Commonwealth University, and has received review in Hi-Fructose, San Francisco Chronicle, Vice: The Creator’s Project, BuzzFeed, boingboing, designboom, Colossal, Fast Company, and more.
MATERIALS: recombinatory form of cinema
Craig Baldwin is a filmmaker and curator whose interests lie in archival retrieval and recombinatory forms of cinema, performance, and installation. He is the recipient of several grants, including those from the Rockefeller Foundation, Alpert Award, Creative Capital, Phelan, AFI, FAF, and California Arts Council. Over the last two decades, his productions have been shown and awarded at numerous international festivals, museums, and institutes of contemporary art, often in conjunction with panels, juries, and workshops on collage and cultural activism. His own weekly screening project, Other Cinema, has continued to premiere experimental, essay, and documentary works for over a quarter century, recently expanding into DVD publishing.
Other Cinema is a long-standing bastion of experimental film, video, and performance in San Francisco's Mission District. We are inspired and sustained by the ongoing practice of fine-art filmmaking, as well as engaged essay and documentary forms. But OC also embraces marginalized genres like "orphan" industrial films, home movies, ethnography, and exploitation, as media-archeological core-samples, and blows against consensus reality and the sterility of museum culture.
Still Life at Penguin Cafe
MATERIALS: plastic found objects on wood base
Inspiration has never been a problem for me. I find it almost everywhere. While watching the Classic Arts Showcase Channel I was mesmerized by a ballet entitled “Still Life at the Penguin Cafe” (England, 1989). I was so fascinated that I could hardly wait to get to the studio. I have done a whole series based on the ballet, but this one is only large free-standing sculpture in the series.
I have worked with found materials since 1989, and have been fortunate enough to have my work in 16 museum collections, and am the subject of a documentary directed by William Farley and produced by Janis Plotkin, “PLASTIC MAN, the artful life of Jerry Ross Barrish.” I have a BFA and MFA from San Francisco Art Institute. www.jerrybarrish.com
Lamp No. 1
MATERIALS: fuse box, trophy base, outdoor light fixture, vintage light bulb, power strip
I like to make new stuff out of old stuff.
MATERIALS: found reading glasses
This piece was made while struggling through learning difficulties in school.
Park Life Soldiers
MATERIALS: altered plastic toy soldiers
Materials are inherently charged with meaning. This is especially true for re-claimed materials, which have a history and context that informs it. My artwork directly engages this history and contextual meaning, forcing the audience to look at these reclaimed objects from a new perspective. For Park Life Soldiers, it is the consideration of more than just a one-dimensional character as a child’s role model.
From the Kitchen of _________
MATERIALS: vintage recipe cards, mull (bookbinding cloth), thread
This hand-sewn quilt form is made from vintage recipe cards rescued from an estate sale. It transforms the cards into a new form of family heirloom that can be passed from generation to generation and celebrates the rich connections recipes represent—between women, within families, across generations and cultures, and even to specific moments in time.
Shirley Bunger is a Redwood City-based artist with a passion for finding the beauty in the materials we discard. Using a range of techniques, from collage to sewing to print making, she reconfigures and reconnects discarded pieces, creating new stories that give them new life and new meaning. More of her work can be found at The Main Gallery in Redwood City.
Lost in Translation IV
With all the current instant language apps available through various electronic media, it seems that most hands-on books have become obsolete. Therefore, I decided to repurpose my English/Spanish dictionary by spiral cutting each individual page, thus altering this tiny book from a dust collector to an eye catching piece of art.
The Specimen Jar
MATERIALS: Slide projection screen set, chairs, carcass hooks, cotton cord, string, glass pipettes
This work, of all found objects, assembled itself through the black/white relationship ofthe items and the absurd nature of this envisioned “viewing experience” ie: chairs floating, screen in face and the goings on behind the scenes of the specimen. A metaphor or mourning for the current state of oblivious engagement with manufactured experiences and distraction within the inevitable physicality of life ie; degrade.
Glenn Carter was born and raised in San Francisco and now resides in Santa Cruz, CA. He has been a painter since childhood.
Ogalthorpe 2 or
MATERIALS: mannequin, recycled paint, thrift store clothing, recycled buttons, existing jewelry, t-shirt
We are all artists it’s just the degree to which we recognize what we do that makes a difference in the path we take. I have enjoyed many art forms through my life from doodling to my strongest passion in photography, collage, and recently mixed media A mannequin I found at SCRAP and a class assignment requiring a conceptual piece expressing feeling inspired this sculpture. I wanted to convey the idea of one people and my frustration with our inability to get along creating a world, which could be so blissful. It was completed with recycled paint, recycled buttons, a thrift store hat, thrift store shoes, thrift store glasses, thrift store clothing and preexisting jewelry and wig, I think the only new purchased item was fabric paint to paint the t-shirt.
MATERIALS: Used plastic shopping bags
An artist working in multiple mediums, Diane often uses repetition to unveil forms while employing the material as a springboard for inspiration. The creation of 'Plastic Lace' started with the urge to make use of used plastic bags that had accumulated under the kitchen sink. It was a way to confront my guilty conscience. The result is a piece that is nebulous, crude and beautiful, representing the environmental cost of disposable consumerism, the dire future that is inevitable if our appetite for instant gratification and habits of convenience continue to override the long term consequences of an uninhabitable earth.
Diane Tate DallasKidd was born and raised in San Francisco and graduated from SF State University with a BFA concentrated in Fiber Art. Upon graduating she traveled to Arimatsu, Japan to study under Tsuyoshi Kuno, a 4th generation dyer using traditional shibori techniques in experimental ways on various fibers to create cutting edge textiles in both design (functional) and fine art (non-functional) applications. Diane considers the time spent with Mr. Kuno and his studio invaluable to her process, learning that new discoveries can be uncovered while drawing inspiration from techniques of the past.
MATERIALS: moving boxes
The boxes in this film were purchased by Cabrillo College when it moved its entire sculpture facility during repairs. Daly initially re-purposed the boxes into a large sculpture, and then into an absurd performance. "Moving Boxes" refers to their movement in space -- as two performers manipulate, carry, crawl in and out of, and, eventually, unmake the cardboard sculpture. The title also alludes to the boxes' motion through three states: from functional packing device, to useless sculpture, to performance object.
Keith Daly earned his MFA at San Jose State University, and a Post-Graduate degree in Political and Social Communication at La Sorbonne in Paris, France. With humor and wit, Daly's multifaceted work is a critical examination of art's context and boundaries. In a recent work Daly claimed to be the reincarnation of Rrose Selavy. Daly is currently collaborating on the remount of Bruce Nauman's San Jose Sate V-Shaped Corridor (1970) slated for Fall 2017, with a catalog published by UC Press. Daly was born near the Guggenheim Museum in NY, and somehow ended up living in Santa Cruz.
MATERIALS: Archival pigment inks and paper
The image of Man is at once familiar presentation of the human form, and a disquieting distopian distinctly inhuman portrait. Constructed using nuts, bolts, bearings and washers from my garage and from a local recycler, the images illustrate the beauty of the parts in their own right rather than as bit players in a tool box or at a construction site. Photography is the goal, so the sculpture is intentionally ephemeral. After completing the project in March I donated the nuts and bolts to Habitat for Humanity.
MATERIALS: zippers, organza, thread
Materials inspire me. So, when I saw boxes of zippers at SCRAP, I knew I had to use them someway. Dresses! How does what we wear reflect who we are? How does our clothing reveal or hide our personality?
Who would wear this dress? Could it be you?
Cork and Copper Cardboard Rocker
MATERIALS: cork, copper, cardboard and leather
This rocking chair is made from four materials; cardboard, cork, copper, and leather. The cardboard comes from used bicycle boxes, the corks from friends and local bars, the copper from the scrap pile, and the leather was a well-used briefcase found in a trashcan.
As an artist, I have returned to basic street-sourced materials again and again. Collecting and preparing these materials for reuse helps anchor me in the thundering waste stream that roars unabated through our city. With it I produce furniture, sculpture, installations and graphic wall-mounted work.
I also teach technique and construction of art, with a focus on simple tooling, the value of patience, and the pride of good craft.
MATERIALS: wood, steel
'Kinjo' is a piece originally intended for a sushi restaurant of the same name. While building out the soon-to-be San Francisco restaurant, I amassed a bunch of this Vertical Grain Douglas Fir as cut-off scrap. Not only did I see value in these bits of wood, but the discarded pieces appeared to have much more character than the bulk of the finished material.
MATERIALS: found wood chairs
Courtesy of Chandra Cerrito Contemporary
Found chairs have served as a leitmotif in many of the installations and sculpture I have completed over the years. I find them compelling images, evoking absence and presence simultaneously. I'm drawn to working with the fundamental aspects of this mini architecture and its inherent relationship to the body and place.
MATERIALS: VHS movies and boxes
Matt Goldberg is an artist living and working in San Francisco. His work is primarily sculptural and stems from a background in ceramics as well as reclaimed objects and materials. Matt received his MFA from the San Francisco Art Institute and holds undergraduate degrees from the University of Colorado. His work has been shown around the Bay Area and he has participated in residencies at Recology and the Palo Alto Art Center. Matt currently works as a ceramics instructor at SOMArts and a resident art teacher at Town School.
VHS Collection is a series of collaged movie covers. Arriving at this material because of its ubiquity at thrift stores, these movies are all set within a specific cultural window of the recent past. Covers are mash-ups of two or more blockbusters, creating new storylines for the viewer to imagine. The resulting work is a freestanding and collection of remixed pop-culture narratives based on those that we already know.
MATERIALS: Found objects
I am a compulsive collector of things who has found a creative excuse for his tendencies. All of my work is made from found materials which I gather all over the San Francisco Bay area. For me, the wealth of creative potential inherent in found objects far outweighs the freedom of a blank canvas. While I take my aesthetic cues from popular culture and science fiction, I am hopeful that my choice in materials can be an example to others of how the way forward may mean looking at what we were once willing to leave behind. I believe strongly that art can be both meaningful and enjoyable, and I aim to continue working towards unifying these two principles.
Peter Gutkin has been an active sculptor and designer in San Francisco since 1966. He received his BFA from Tyler School of Art, Temple University and MFA from the San Francisco Art Institute. He has exhibited nationally and internationally in museums such as The Whitney Museum, SFMOMA, and Laforet Museum in Tokyo. He is a recipient of three National Endowment of the Arts grants and has received several awards such as the prestigious ROSCO award for design. His works are included in many private and public collections such as the SFMOMA, Harry W. Anderson Collection and The Ames Research Center, NASA.
Gutkin’s principle material throughout his career has been wood, but he enjoys using other materials such as steel, glass, anodized aluminum/titanium, and gold leaf. Almost all of his forms are distilled and classical, and with restrained/refined elegance. He owes his debt to the modernists of the late twentieth century.
The twelve foot tall sculpture, ATLAS, being exhibited in the “Reclaimed” show was made in 1994 and exhibited only once before at the Jurnigan Wicker Gallery in 1995. The large slab of atlas cedar was reclaimed from a fallen tree that was near a public building in Northern California. Atlas cedar is indigenous to the Atlas Mountains of Morocco, and is known for its resiliency in such things as the ancient Egyptian sarcophagi. The undulating noodle-like form of the sculpture
comes from a curly willow tree that has been stripped of its bark and secondary branches. Two large wood knots near the center of the slab portion presented an opportunity for their removal, and thus givingthe impression of “eyes”, as well as the bold figure markings giving additional “facial expression”. The two rectangular “feet” at the floor give the sculpture additional reference to the total totemic concept.
MATERIALS: Plywood, cookie tin, paddle ball, masonite, Xerox transfer, acryilic paint, colored pencil.
Jeff Hantman is a sculptor/painter that has worked in the Bay Area since 1995. He has been awarded residencies at Djerassi, Krems Austria, Recology, and was a KALA Fellowship Artist. He has exhibited work at the KALA Art Institute, The Compound Gallery, Napa Valley Museum and The de Saisset Museum.
“Fli-Back” is part of a larger series of low relief curved assemblages that hang on the wall. The paddle and cookie tin were gathered while in residence at Recology. He incorporates objects like these to construct a narrative within each piece. He gathers materials that are illegally dumped throughout Oakland, and his studio is packed with weathered objects, plywood scraps, 2x4’s, broken furniture and wood bric a brac. He combines woodworking, painting, drawing, printmaking and CAD to create curved structures that hang on the wall, or freestanding sculptures that resemble natural shapes or objects.
MATERIALS: Latex on canvas
Influenced, driven, and having participated in the graffiti community taught me to be resourceful with paint and supplies. My self-taught use of color aggressively shapes an object so that it is clearly visible when viewed from afar. Up close, the work can be viewed as an elaborate color design — an almost mosaic pointillism of brick-like shapes. I have refined this technique through aggressively painting the iconic grizzly bear. I have since evolved in subject and color by exploring portraits of facially recognized artist
A Square Meal
MATERIALS: Found object and plaster cast
Courtesy of artist and Anglim Gilbert Gallery.
Mildred Howard began her adult creative life as a dancer, before working in visual art. In the early 1980s, Howard's installations took the form of manipulated windows from storefronts and churches. They later evolved into constructed habitats that provided walk-in environments.
"Howard […] has worked in assemblage, collage and installation for more than a decade, but her real medium is memory, which permeates her work with vitality and poignancy." Art in America′s Leah Ollman
Howard has created numerous public installation works in the Bay Area, including Three Shades of Blue, a collaboration with poet Quincy Troupe on the Fillmore Street bridge, and The Music of Language on Glide Memorial’s family housing building on Mason Street, both in San Francisco.
MATERIALS: steel, stainless steel, cast iron with porcelain enamel, tintype photo, found objects, paper image from a catalog coated with clear epoxy, acrylic paint coated with clear epoxy, wire
A leading figure in West Coast sculpture for the last 50 years, Robert Hudson combines welded steel, found objects, and brightly painted surfaces to create complex forms that dazzle and confound the eye. Each work asserts the pleasure of forms, objects, textures, colors, and, by implication, the glory of the many varied things around us. The delicate balance of movement and containment, and of form, void, and painterly dissolution that Hudson employs has been a trademark of his work from the start of his career.
Robert Hudson grew up in Richland, Washington, and received his MFA from the San Francisco Art Institute in 1963. Recognized for his talent while still a graduate student, Hudson, along with his contemporaries, Robert Arneson, Roy De Forest, William T. Wiley, and others, was included in Peter Selz’ historic exhibition, FUNK, at the Berkeley Art Museum in 1967.
He has taught at art schools and universities, including the San Francisco Art Institute, University of California at Berkeley, University of California at Davis, and California College of Arts and Crafts. Robert Hudson’s work was the subject of a mid-career retrospective at SFMOMA in 1985.
MATERIALS: high heels, metal, multi-media repair compound
I do not begin an art piece with an exact idea in my head. However after looking at many of my art pieces I find that there are common themes among them, such as feminism and sexuality. I see this theme especially in this work because of the use of high heels that are mainly worn by women and how the shoes are manipulated and bound together in an unusual way. They are glued and drilled together, restricting them and making them impossible to walk in. When I look at this sculpture I am reminded of the women and young girls in third-world countries who are being oppressed and looked down upon.
End Grain Douglas Fir Table
Repurposed wood scaffolding
This table was an experiment in combining end grain pieces to create larger patterns.
San Diego Armchair
MATERIALS: reclaimed hard wood
The artist creates and executes furniture reclaiming and reusing raw materials, especially solid wood from demolished houses and old boats. His projects are worked with attention to craft, style, and modernity.
After working a family business in construction waste transportation, Elias Lanzarini started a new project, learning from a retired wooden boat builder, buying up old machinery, and building a workshop from scrap. His work reflects a love of the earth, the ocean and function inspired by the human experience.
Terry A. Levy
Piano and Bench
MATERIALS: wine bottle corks, leather, model glue
The Piano and Bench are made from used wine bottle corks, leather, toothpicks, and model glue. I modeled it after the family piano. I chose the approximate size I wanted (about 3” long) and by measuring I reduced the dimensions. I incorporated most of main design elements without losing the overall appearance of the final pieces.
As a child I enjoyed creating with paper and cardboard which are still my favorite materials to use. I have used fabric to design and make rag dolls, costumes, and clothes. In addition to the piano other cork a miniature I’ve made are a rocking chair, covered wagon, and buckboard.
Thinking Cap #3
MATERIALS: textiles, found objects, & wire
My work is made from fabric and found objects that I find on my many missions to flea markets, thrift stores, FabMo and SCRAP. I imagine the stories held within the garment or object and hope that my transformation honors the former owner. When I mounted the flywheel on top of the children’s block base, I imagined the wheel turning and, like a jack-in-the-box, a worried man emerges reluctantly from inside an abstract head.
I manipulate repurposed textiles (primarily old t-shirts, tablecloths, fabric & leather scraps) using my interpretation of the cut-work technique typically used with embroidered silks that I have adapted for use with heavier textiles.
MATERIALS: coffee filters, 2 buttons, thread
The organic quality of used coffee filters has intrigued me as an art material since 1993. The naturally subdued and earth toned colors, the arbitrary patterns of the coffee stains and their recyclable element all make the filters an attractive material to use. I use a variety of stained coffee filters, collected from over 25 coffee drinkers, as different color paints. My eyes are attracted to the lines, juxtapositions and shapes found in nature, architectural elements or just everyday objects. These shapes, angles, and designs translate into possibilities for my work, which either begin after making small sketches or simply by laying out the filters and experimenting with various patterns.
Growing up in the Netherlands I was exposed to handiwork and textiles at an early age, taking particular interest in embroidery, fabric design, hand-made paper and multi-media fabric art. The organic, oriental nature of my present work recreates many earlier feelings.
My work has been exhibited since the early 80ties and can be seen in several public spaces and many private collections.
Swell and Submerge
MATERIALS: scavenged felt, fake fur, thread
This undulating form was made by sewing together the edges of post production scraps of industrial felt found at a re-use center. The result is far more sensual and illogical than the usual functional associations with the base material.
May crafts conceptual objects and installations by juxtaposing disparate materials and processes. Her work illustrates the tension between organic forces and human interventions to control them. Through repurposed surplus or found items, she comments on resourcefulness in the context of excess. She manipulates materials in ways that vary from finely crafted to seemingly crude, often relying on sewing. Her often obsessive constructions underscore the absurdity in the societal tropes that are the object of her satire.
May received her MFA from SJSU and has taught at SFSU, AAU, Penland, and OCAC. She has had residencies at Jentel Arts, Kala and Lucid Arts Foundation and was recently nominated for a Eureka fellowship.
Wall With No Name
MATERIALS: mailing label remnants, acrylic on canvas
Kim Miskowicz is a visual artist based in Oakland, CA. Her work has exhibited at numerous Bay Area venues including Artists’ Television Access, Headlands Center for the Arts, the David Brower Center and Krowswork. Her work focuses on a response to material and data overload creating breaks in continuous thoughts similar to a building that obstructs a view of a simple horizon.
“Wall With No Name,” from the LABELS series, is a mixed media collage using mailing label remnants from a former day job in which she mailed travel catalogs worldwide. She creates landscape images by adhering several layers of torn and fragile sticker skeletons. This process requires great attention to render rocks, plants or mountains. The build-up of the label remnants hints at contemporary landscape imagery such as landfills reclaimed as city parks or nature preserves and cell phone towers poorly disguised as trees.
MATERIALS: thrift store dress, layered with 19th C. ball gown ruffles, 1920s shrunken chiffon, fringe and tassels from a retiring interior decorator, and fabric from a 2005 dance costume
The garment is among a collection of dresses for the TERRAIN project, which traces the connections between textures and patterns of the female form and natural ephemera, and grapples with society’s disparaging view of aging women. TERRAIN premieres November 18 & 19, 2016 at ODC Theater with a photography, fashion, and dance collaboration.
Kate Mitchell is an art fashion designer, choreographer, and the author of “Fashioning Women”. All of her projects are connected by a passion for color and texture, contradictions and incongruities, beauty and strangeness, and the expressive power of the human body. “If designer Jean Paul Gaultier and feminist leader Gloria Steinem had a lovechild- wrap your head around that one for a moment- she might have turned out like Kate Mitchell.” (SF Examiner)
MATERIALS: found plastic - thread from SCRAP
SCRAP has been a huge motivator to my art. Most of my current work includes some material from scrap. I started working with damaged threads that SCRAP was unable to sell over 20 years ago and I'm still finding different ways to use them.
Growing Problem is made up of over 100 pieces of found plastic, coffee lids, food trays, plastic salad bowls, mostly collected from walks with my dog around SF General. They are each wrapped with thread from SCRAP. It is a simple statement on the massive problem of single use plastic - a problem that is getting worse by the day.
MATERIALS: metal transportation parts
In my work, I strive to create pieces that provoke the senses by joining familiar objects in unexpected ways. Transportation parts provide the best opportunity to strike the careful balance between a sculptures form and function. With rare exception, the forms produced in my studio tend to be recognizable, often found in nature. The function of each piece has always been to catch and hold ones attention. If allowed, the observer may be drawn down lanes of memory, when the individual parts served more utilitarian purposes. Perhaps, on those rare occasions, such memories evoked by a newly cast order, can challenge one to think differently about the future.
The Black Ant was created in 2012 and is the first piece in the Recycled Insects series. All of the vintage parts used in its creation were left in their found condition, as such, each part tells a story.
Orange and Meaning
MATERIALS: outdoor fabric, batting, truck tarp, reflective road sign, and thread.
"Orange and Meaning", is inspired by a boy that I worked with in one of the pockets of economic poverty in San Francisco. It is in the form of a shield to offer him protection against all of the potential emotional, psychological, and physical harm that he will inevitably be confronted by. He once told me that the orange backpacks that I wore to our sessions made him sad. The color orange reminds him of the city and county jails he's visited all over the Bay Area. He wants his father to come home and to stay this time. There is road signage embedded in "Orange" to guide and keep the boy on the path.
The teal path is the journey that we charted together. The path meanders, moving gradually forward, then back, but steadily making progress, acquiring skills and momentum along the way. The path eventually splits then abruptly ends, as our relationship did when our work together expired.
Mansur Nurullah has made art his entire life, and learned to be resourceful out of necessity. His work is adapted to his available resources. Mansur has a BA in Fine Arts, a MS in Counseling, and was a taxi driver in San Francisco for 8 years. He prefers to utilize expressive arts in his work helping children.
La Ceremonie de la Memoire from Les Voyageurs de Temps
MATERIALS: Recycled and repurposed LEGO®, Argentium and sterling silver, fine silver tag
San Francisco designer emiko oye creates bold and colorful jewelry from repurposed LEGO® and precious metals – both ready-to-wear through her brand emiko o reware, and one-of-a-kind conceptual pieces. Her artwork is exhibited nationwide and internationally, and is in private and public collections such as the Los Angeles County Museum of Art and Museum of Contemporary Craft. She has been featured in Marie Claire magazine, Modern, American Craft, Metalsmith, ReadyMade, and the San Francisco Chronicle.
La Cérémonie is a convertible necklace, inspired by Cartier’s Ceremonial necklace for Maharajah Sir Bhupindra Singh of Patiala, 1928. It is a pixelated redux in LEGO®, mirroring today’s digitized lifestyle, as people experience life more via a pixel-rich lens. The overall picture becomes "fuzzy" on introspection, mimicking that of personal memories over time.
MATERIALS: reclaimed fence board, bottle caps, aluminum cans, found wheels
I began collecting disposable bottle caps in my early 20`s once I had the idea of using flattened bottle caps for scales on a snake or fish. In the last six years I have made six sculptures, each with a different bottle cap design. My most recent fish is a pull toy. The body is made with reused redwood fence boards laminated together with wood glue.
The bottle caps are flattened on an anvil and then stapled over hammered aluminum soda cans. It takes seven months to a year to finish each sculpture. I chose the bright yellow and blue corona bottle caps and found it interesting that I had to add powdered gold to get a perfect match for the wheels. All of my fish are, “Catch and release”
Zachary Royer Scholz
MATERIALS: antique velvet stretched on reclaimed redwood
This piece is part of a series of works created out of velvet salvaged from discarded pieces of furniture. The composition exploits accumulated sun bleaching, weathering, and staining, as well as the uniquely shaped sections of material yielded by one dark green rolling armchair.
Zachary Royer Scholz is an artist, cultural theorist, and occasional curator based in San Francisco, California He has been a SECA Award Finalist, a Kala Art Institute Fellow, and an Artist in Residence at Headlands Center for the Arts and Recology. He has exhibited at the Wattis Institute for Contemporary Arts, the San Diego Art Institute, the K2 Contemporary Art Center, and the Contemporary Jewish Museum, as well as with numerous commercial and non-profit art galleries. He is a regular contributor to the publications Daily Serving and Art Practical, and holds a BA from Stanford University, and a MA and MFA from the California College of the Arts.
Probable Plastics 001
MATERIALS: acrylic, silk thread, gold-filled elements
I am in a complicated relationship with plastic. It has permeated my daily life, from my toothbrush to my favorite windbreaker. It protects my food, holds my water, and pampers me with its shiny newness and low cost. Occasionally, it converges in small islands in the middle of the ocean. As a maker, my gut reaction is to carve, sand, and polish acrylic. I toy with the perceived value of this plastic; its ambiguous nature allows me to mimic everything from faceted gemstones to river pebbles to LCD television screens."
Olivia Shih is a contemporary jewelry artist and writer based in Oakland, California. Born in the US and raised in Taiwan, she is interested in the cultural nuances that can be explored through wearable sculpture. She holds a BA in Creative Writing from Columbia University and a BFA in Jewelry and Metal Arts from the California College of the Arts.
Winnie van der Rijn
MATERIALS: plastic, acrylic, steel wire
The beauty and possibility of the imperfect and discarded inspire me. I prefer things that are broken, worn and a bit dirty with the patina of age. I am curious about how and why we acquire, consume, treasure, and discard and am intrigued by the idea of value and how things are assigned value in society.
As an artist of opportunity and an urban scavenger, I focus on upcycling found objects. I extend the life of the obsolete. I collect materials and skills and then see how they coalesce to express my ideas. My art process itself is a critique on consumerism and disposability. Every choice we make about how we spend our time, our energy and our money tells the world who we are and what we value.
My compositions emerge organically; Design and construction happen simultaneously. The structure grows out of a conversation with the materials. I work with textiles, beads, wire, metal, paper, clay, resin, wood and found objects. I create jewelry, sculpture, prints and wall hangings. My work revolves around themes of identity, femininity, womanhood, beauty, domesticity, family and motherhood.
Visual Representation of a Josef Albers’ Quote on the Color Red
MATERIALS: sweaters, chair
This Josef Albers quote became a focusing agent as I sat amongst the chaos of multicolored clothing piled in my studio.
If one says ‘Red’ (the name of a color)
and there are 50 people listening,
it can be expected that there will be 50 reds in their minds.
And one can be sure that all these reds will be very different.
Leah Virsik works in sculptural fiber and received her Masters of Fine Arts degree from San Francisco State University in 2016. She teaches art and works out of her Oakland studio.
MATERIALS: Cigar boxes, postcards, electrical components.
"Extraction" honors old technology while calling for a cleaner future.
MATERIALS: vintage curtain fabric, cotton/linen
Originally from the British Isles I studied textile design and fiber art. My work investigates pattern and its transformation through surface manipulation. Influenced by travel, architecture, the aesthetic traditions from Japan and the Arts and Crafts movement, my textile constructions showcase materiality using a variety of substrates and structural form created through a process of continual manipulation. I turn to the photographic process to rework the patterns and print the transformed textiles onto cloth before finally pleating and smocking into my textile constructions. This dialogue between architecture, patterns, photography and material is the fundamental thread throughout my work.
Instead of designing my own textile this show inspired me to reclaim a wonderful piece of vintage curtain fabric. The smocking has completely altered the original pattern, creating depth and the appearance of a more random design from its repetitive roots. These potential curtains now have a whole new lease of life.
Vanity (Tower One)
MATERIALS: found marble
Keith Wilson is a filmmaker, visual artist and bookmaker whose work investigates the unremarkable and the overlooked found within natural and built environments. His totem-like Vanities sculpture series, made of discarded marble sinks remnants, mimic and embody San Francisco’s ever-rising (and sinking) high-rise condo towers, sites where only good-enough materials are allowed to dwell. His moving-image work has screened internationally including the Sundance, SXSW and Berlin Film Festivals and the U.S. National Gallery of Art. In 2016, his artist book All the Buildings of Burnet [burn-it] Road, about a boring Texas thoroughfare, was exhibited at the Gagosian Gallery in Beverly Hills.