All the Truth About Sleeping Beauty 1983/86
14″ x 11″
Minimum Bid: $175.00
BUY IT NOW! $650 .00
One of the first lessons we learn as kids when borrowing books from the library is don’t write in them, don’t put stickers on them, and, don’t cut their pages. Somewhere in there Barbara Alexandra Szerlip must have heard things a little differently.
Szerlip creates what she calls “book sculptures,” which consist of volumes that she has, cut up and then reassembled into miraculous concoctions. Props like dolls, fans, photos, ribbons, copper trinkets, feathers, and other bits and bobs attach themselves to the covers and endpapers, weaving in between the cut pages and turning each piece into a statement — a witty remark on the title or some other subject, or sometimes on something entirely separate.
“I’m extremely reverential.” Despite the damage, it’s not an exaggeration.
Though she’s casual about her art, each piece displays an editor’s careful attention to detail and a designer’s painstaking eye for matching materials and creating compositions.
Paper and Acrylic on Canvas
30″ x 24″
Minimum Bid: $325.00
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Priscilla Otani is a mixed media artist, working with paint, paper and objects. She is also the President of National Women’s Caucus for Art and co-owner of Arc Studios & Gallery. As a San Francisco-based artist, her works have been selected in various exhibitions including Man as Object: Reversing the Gaze, Hidden Cities, Control, Banned & Recovered, and Telling Tales. Her work, Water Baby, is based on the mizuko jizo (literally, “water baby” bodhisattva) statues found in the Buddhist temples in Suma and Mt. Koya. Jizos represent the bodhisattva Ksitigarbha, known in Japan as the guardian of children who died before their parents. They are associated with guarding the souls of unborn children – children lost to miscarriage or abortion. With abortions being commonplace, money is donated anonymously for their statues by women to ease their guilt. “I tried to capture the pathos of both the anonymous women and their lost babies in this work.”
Fragments of Memory
Fabric, Found Photographs, Metal
24″ x 18″
Minimum Bid: $350.00
BUY IT NOW! $1,500.00
Throughout my career, I have experimented with a variety of media, including glass, synthetic polymer, and paint. Most recently, I have focused on non-traditional materials and folk-art techniques, which I combine with a deep exploration of the human experience by adding aspects of African and African-American spirituality to create art that speaks to empowerment, sustainability, and renewal.
I use materials like marbles, pins, puzzle pieces, buttons, fabric, and found objects, attaching them to chairs, tables, and mattresses to create contemporary sculpture that provides a soulful interconnectedness among people.
My current work is greatly informed by my experiences as a queer man living in the United States. By combining aspects of contemporary queer identity with the aesthetic traditions of my African-American heritage, my work engages the political, spiritual, and economic histories of culturally specific communities globally.
UNTITLED (gold dot)
Enamel, Acrylic, Leaf and Paper
27″ x 21″
Minimum Bid: $275.00
BUY IT NOW! $1,100.00
while living in northeast Kansas in the early 1970s, i was asked to build a doll house. instead, i chose to build what i called a museum of modern art; the plywood building’s design was influenced by my childhood obsession with the formed concrete of Kivett & Myers’ Kansas City International Airport. i also crafted the museum’s miniature abstract paintings and tiny metal sculpture, informed by family outings to the contemporary collection at the Nelson-Atkins.
while living in New York in the late 1980s, a neighbor on East 13th Street showed me how he made his work on utilitarian glass objects. i took his instructions in a different direction and began painting on found glass.
i moved to California in the early 1990s. i live & work in San Francisco, where i make mixed media work on glass.
Dark Annealed Steel Wire
31″ x 22″
Minimum Bid: $400.00
BUY IT NOW! $1,550.00
As a child, being brought up Catholic, I remember the long Latin masses my family attended every Sunday. The stained glass windows of the churches were what intrigued me the most about these ceremonies. I loved the way the light lit up the primary colors of the glass and the black line that defined the images. I believe this was the first influence to the work I create today. I started drawing these “holy” images using pencil and ink. I liked their expressions and the flowing lines of their garments. The scale of these wire people sometimes changes from day to day. One day I’ll be working on the large figures, the next, small skeleton-like people, small wire torsos with marble heads or portraits with marble eyes that follow you around the room or change expression in a triptych. I will always find the human form the most interesting and the most satisfying to mimic.
Acrylic, Paper, Photo, Ink, Oil and Resin on Panel
11.25″ x 17.75″
Minimum Bid: $325.00
BUY IT NOW! $1,225.00
My work investigates themes of inheritance; within society, nature, the family and the self. I am fascinated by what is carried from the past, what collects in the present and what we bring with us into the future. Of particular interest to me is how experience and time act upon each of us to make us who we are; each addition and subtraction making up the whole. Working in various media—painting, drawing, photography, and mixed media, I explore and re-present artifacts of this journey.
inheritance noun \in-ˈher-ə-tən(t)s, -ˈhe-rə-\
1. a : the act of inheriting property b : the reception of genetic qualities by transmission from parent to offspring c : the acquisition of a possession, condition, or trait from past generations
2. : something that is or may be inherited
3. a : tradition b : a valuable possession that is a common heritage from nature
4. obsolete : possession
Wood, Steel, Paper (Newsprint)
6′ x 8″
Minimum Bid: $300.00
My work in sculpture and mixed media began during graduate studies in architecture. It started simply enough as studies to explore how different materials could mechanically be joined together. But soon these studies began to develop into a kind of specialized language, a language in which the vocabulary and grammar was very much derived by my view of material, how they should relate to each other and how they can communicate the particular issue or concept that is being considered.
Currently, my work has been focussed on concepts of transformation and ‘completion’ of the worn, decayed or grotesque. Also present is the re-presenting of materials that are generally viewed as ordinary or undesirable to reveal an unexpected depth and/or beauty. There is often the suggestion of the architectural and scaled representation, and while sometimes part of a broader design process, each piece is intended to stand on its own representing a complete thought at a particular time and place.
so why is he drawing? #19
Resin and Paper on Wood
12″ x 9″
Minimum Bid: $150.00
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Originally from France, Philippe has lived in Hays Valley since 1995. He has worked with Ampersand Art gallery, Michael Martin gallery, and Hang art gallery in San Francisco. He is currently with U Gallery. He has produced works with wood, metal, paper, wire and charcoals. One common material to many of these works is the resin which is applied with different casting techniques, often born out of experimentation and necessity to bring forth the initial idea. “I look forward to bring the viewer to consider the flexibility within, offering different lectures and inherent potentials.”
Pigmented Ink and Packaging Tape on the Wall Street Journal, Mounted on Aluminum, 8/8
20″ x 16″
Minimum Bid: $175.00
BUY IT NOW! $725.00
Process is at once a history, an operation, and a foretelling. The function itself conveys a story of how and why things come to be. I’m interested in using the art-making process as a part of storytelling. How does the process, through materials and modes, contextualize the subject?
My current body of work is concerned with the relationship between the economy and the environment. Inspired by globalization and the intertwined Eastern and Western markets, I use imagery and symbols that draw from these cultures. Themes of excess and finance are woven into meditations on nature and permanence.
In my primary body of work, images of nature are digitally printed and then painted onto individual sheets of financial newspapers. Mimicking the commodification and manufacturing of nature, each sheet is methodically laminated in packaging tape, then assembled together. When exposed to extended amounts of sunlight, these works will yellow and change over time, paralleling our current climate condition. Evoking a theme of change, these pieces are intrinsically performative. Serving as an extended metaphor for our relationship with nature, this body of work addresses the issue of the environment through the prism of technology, commerce, and activism.
great job, ganesh!
Reclaimed Latex Paint, Paper Collage, Colored Pencil on Birch Panel
24″ x 48″
Minimum Bid: $1,000.00
BUY IT NOW! $3,900.00
thomas christopher haag was born in wichita, kansas into a family as vast as the sea. he has lived in southern mexico, switzerland, india, spain, the pacific northwest, the great american southwest, and now, oakland, california. when he’s had to work, he’s been a commercial diver, propman, art director, low-volume smuggler, curator and gallery owner. but he prefers to paint.
an avid muralist, both commissioned and not, he has painted buildings in oaxaca, barcelona, venice, albuquerque, varinasi, bangkok, rangoon, seattle, portland, los angeles, new orleans, oakland, and many other places, under the names “detach,” “stove” and “el pituitario.” he has exhibited with the likes of shepard fairey, chaz bojorquez, swoon, gaia, slinkachu, henry chalfant, mark jenkins, chris stain, and chip thomas.
using “reclaimed” housepaint taken from chemical disposal facilities, found wood, and discarded books, he constructs multi-layered, collaged paintings and assemblages which reference ancient cultures and spiritual traditions, but with just a hint of smart-ass.