High Water, 2008

Sherie' Franssen

Driving Into the Ocean
December 11, 2008 — January 31, 2009

Essay by Jonathon Keats With each painting, Franssen’s surroundings become irrelevant and the process becomes experimental. She avoids defining the work as figurative or abstract, pushing one against the other and creating new forms. For Franssen’s upcoming exhibit we will have a catalog featuring her work. In the catalog’s essay Jonathan Keats wrote: “While studying art at California State University–Long Beach, Sherie' Franssen often sketched the deceased. The dozens of drawings she produced, working for hours in the biology department's air-conditioned dissection room, taught her about the human form, yet she learned much more by studying what the cadavers lacked.… read more

Arno, 2008

Robert Kingston

New Paintings
November 6 — December 6, 2008

November 6 - December 6, 2008… read more

Cutting Board, 2008

Jim Phalen

La Nature Morte
October 2 — November 1, 2008

Jim Phalen’s paintings most often present austere arrangements of simple objects laid on a white sheet or countertop. Phalen says, “I often use stark, confrontational compositional choices to make a point, while in other works I allow that process of seeing to take the lead, but in all I’m committed to the practice of painting from life. I paint what’s paintable. Many subjects are, for me, unpaintable. A flying bird, a swimming fish – anything in motion, even a smile - cannot be seen in the manner necessary for it to be painted perceptually.” Phalen’s paintings have no predetermined compositional plan, but rather like a collage in which the pieces form the whole they are about unrelated things that are forced together.… read more

Radiation, 2008 l Oil on canvas l 40 x 60 inches

Paintings by Emanuel Bernstone
September 4 — 27, 2008

Bernstone’s work stems from an event or encounter that inflicts strong emotion. Once he has an intense reaction to a place, Bernstone looks for an intriguing angle or “cut out” as he says. After finding a slice of the room that represents a small narrative of the place, he takes a photograph. After the image in the photograph is dismantled, it becomes dynamic through observation, oscillating between the imaginary depth and the technical surface. The conflict between depth and surface forces each viewer to achieve their own conclusion. Bernstone emphasizes that “…art is not in command, it does not tell stories, nor lie, nor preach. It creates a stillness, which allows forgotten emotions to be awakened. This is by no means a matter of synthetic, or even less an intellectual experience of my pictures. Nor is it my ambition to present an authentic fragment of life. It is all about an emotion or about the possibility of an emotion. As far as I understand something like that is not possible until the spectator is forced to mobilize his own ideas and experiences to complete the picture.”… read more

Motif, 2008

Dan Jackson

New Still Life Paintings
July 10 — August 30, 2008

July 10 - August 30, 2008… read more

UC Berkeley #8, 2008

Ada Sadler

New Paintings
July 10 — August 30, 2008

July 10 - August 30, 2008… read more

Jeffrey Beauchamp "Immigration is the Sincerest Form of Flattery"
June 5 — July 3, 2008

“This new body of work is the jolly culmination of many years of dissembling and self-denial. I‘ve wanted to paint the figure forever but couldn’t solve the problem of fitting people and things into my increasingly hectic landscapes without a nagging feeling of contrivance. More troubling, as soon as undeniably narrative elements appeared (yup, that’s clearly a naked lady now and a Playmobile pirate toy) I crossed over from the Happy Color World of Maybe into the Land of Loaded Meanings.… read more

J.F.H. with her Portrait, 2007-8

Alex Kanevsky

April 3 — May 24, 2008

April 3 - May 24, 2008… read more

Endless Column, 2007

Field of Vision
March 6 — 29, 2008

March 6 - March 29, 2008… read more

Revolver-Hanging Garden #27, 2007

John DiPaolo

New Paintings
February 7 — March 1, 2008

February 7 - March 1, 2008… read more