My project is to create an alternate-reality where various elements of our time are given free range to merge and collide. The most insistent have lodged in my gut for some time and are now a part of me. Over the past several years I have begun painting buildings that I find evocative. I am fixated on the idea of utopia, a utopia that grows unnoticed in the cracks of a dominant culture. Not a utopia like Le Corbusier’s, which seeks to replace the messiness of life with something perfect, but rather one which does not attempt to resolve all contradictions. Nature and landscape remain key touchstones for me, in part determined by culture, but also transcending it. I work automatically like the surrealists and the abstract expressionists. That is, I begin without any preconceived plan, laying in colors and lines and pieces of collage. If this first attempt is lacking, I paint over it or rub it out. Most pictures go through several revisions before they are "finished" and occasionally this finishing involves imposing a found image. Above all, I want to have absolute freedom in this process, letting each picture tell me where it should go. The end result is a group of pictures with many family characteristics. There are many borrowings in my works, memories of paintings that I unconsciously draw on. Philip Petrie is a painter working in oils on canvas and mixed media on paper. He earned his Bachelor of Fine Arts in painting and drawing at the University of Rhode Island and his Master of Fine Arts at Ohio University. He has lived and exhibited in New York, Chicago, and Indiana where he was an associate faculty member at Indiana University South Bend for eight years. He currently lives in San Diego with his wife and daughter and exhibits regularly in both group and solo exhibitions.
Turner is a great inspiration. "Indistinctness is my forte." That is a goal vastly more difficult to achieve than robotically creating a painted copy of a photographic image. When I started painting again in August of 2017, that is what I did to get the feel back. I am now producing works that are significant to me in free form. My current locale in San Diego brings the beauty of the sea to my palette and the surrounding countryside suggests I follow in the footsteps of the great California Impressionists – whom I much admire. Now I am one of them. My past in the Alberta hinterlands brings me back to my boyhood summering on the farm and my camping trips in the Canadian Rockies bring me those majestic visions. The prairies produced thunder and lightning on a daily basis contrasted with the peace of the prairie fields heavy with golden grain; the rough seas of northern California and the quiet back country hillsides and streams provide the counterpoint. My past and my present serve to provide me with more than enough inspiration. Travel broadens and sharpens one's eye as well. You will see scenes from many places in my work. It is a little on the traditional side but I like to produce dramatic pieces that strike a chord; nature overwhelms us. Just ask Captain Ahab. Turner also said "Light is therefore color." As an Englishman he probably said "colour" - which reflects my previous life in Alberta, Canada. I grew up as a city boy in a family of farmers and spent many lovely summers on the farms of my grandparents. The past prairie life itches my creative bones. Much of my work reflects that - the vast and glorious expanse of the prairie punctuated by the tiny presence of man. I am a little on the senior side to be classified as an emerging artist but art is something I have always done. I knew I had some talent when I was 10 and started painting at 14. I painted as a selling hobbyist for many years but concentrated on a career in I.T. When I moved to California in 1995 and raised a family I left the art behind. Now that the children are essentially grown (18 and 16), I have time once again to explore my passion. A trip to Italy in June of 2017 provided the inspiration and I have been producing works at an alarming rate ever since. Twenty-five years away from my paintbrushes is finding its way out.
Creating imagery that inspires the imagination, coupled with classic painting techniques, Brady Willmott's unique twist on pop surrealism leaves a lasting impression. Willmott paints in oils and is based in Carlsbad, California. Born and raised in Vermont and having lived several years in the mountains of Colorado before relocating to Southern California in 2003, his connection to the ocean and nostalgia for the mountains are evident in his work. A strong imagination, dry sense of humor and recently retiring from a successful career as a tattoo artist also play a role. A strong focus in art helped Willmott complete high school and led him to earn his BFA from the School of the Museum of Fine Arts, Boston in 1998.
Daphne Hill and Anna Stump, working partners since 2010, are pleased to present their collaborative paintings. Acrylic color, metallics, and dry pigment float between layers of epoxy resin on wood panel, creating depth and shifting brilliance. With references to Japanese motifs, Rococo foliage, gilt decoration, and Impressionism, the partners’ influences include Jakuchu, Watteau, O’Keefe, and the light and landscapes of Southern California. Hill&Stump work together in their San Diego studio and also maintain a space in Los Angeles. Ms. Hill earned her MFA from Claremont Graduate University. Ms. Stump, a Senior Fulbright Scholar, earned her MFA at San Diego State University. Both artists teach studio and art history courses in the San Diego Community and the Grossmont/Cuyamaca College Districts, and at Donovan State Correctional Facility. "Daphne Hill and Anna Stump are visual novelists, with their own stories to tell through the art they create. Working together as Hill&Stump, they produce not novels but poetry, in the form of floral portraiture. Hill and Stump florals are best seen as symbolist poems, evoking flowers through patterns of color, and (more subtly) the glass of a vase through the surface gloss of resin. Gloss is unexpected here – it's normally the property of a new sedan or surfboard, and their perfect even color. To pair gloss with expressive brushstrokes marks the genius of Hill&Stump in remaking a classic genre." -Richard Gleaves, 2014
A scientist turned artist who produces works of art using vibrant colors and bold outlines. These glyph-like designs are reminiscent of Mesoamerican times which in essence define him. And through this concept Santos is able to relate his story as well as provide social commentary of these times. Exhibit Description: A series of 18 pieces that were originally made in 2013 to commemorate the date in which the Latino race became the majority of the population in the state of California. This Collection entitled Reflexiones (Reflections) was first shown in its entirety at Santos Fine Art Galleries in June 2013. It now takes on a different context at the University of California San Diego since the Latino race currently deals with a massive series of events under the new political administration in the United States of America.
Mohan was born in Bangalore, India in 1945. He learned how to work with his hands, painting and making toys, at an early age. After graduating high school, Mohan moved to London, where he spent 5 years living a carefree life, earning money doing odd jobs. In 1968 Mohan moved to Vienna, Austria to work with his cousin in the textile industry. He loved working with colors, and soon began designing garments. He travelled all over Europe, and to countries in Asia and South America, collecting inspirations. He eventually settled in San Diego in 1985. Mohan began painting in 1999 with acrylics on any material that he could afford. He also became quite adept at grinding aluminum, having been an assistant for 5 years to an accomplished artist in Marin County. The sphere is Mohan's trademark, and can be seen in most of his work. Mohan's present style evolved after experimenting with many media. He begins by making two acrylic paintings on canvas. He then turns the paintings over and draws random lines on them, as well as a sphere within. Shockingly, next, he cuts each painting into strips of various widths and curves, then weaves them together into a tight pattern. When he finishes weaving, he turns the piece over to see his “surprise”. In 2011, Mohan did his first solo show at the La Jolla Historical Society. His work can be seen in galleries in La Jolla, San Diego and Los Angeles. Visit his website www.mohanlajolla.com Like us on Facebook https://www.facebook.com/mohanlajolla/ Instagram MohanArtLaJolla, Twitter @MohanLaJolla For more information or inquiries about sales firstname.lastname@example.org, 760-212-3771
ichael Richard Rosenblatt’s decades of long pursuit as an artist, transitioning smoothly between abstract and figurative work, is evident when viewing his hundreds of canvasses scattered around his San Diego, California studio. Many of his bold paintings in primary and secondary colors appear abstract at first. But look at them for several moments and whimsical shapes of stars, rainbows, fish and dragons become apparent. Michael paints prolifically, day and night, covering his studio walls and floor with the oil and acrylic paint that he splashes freely onto his canvasses. “I work intuitively” he says, “developing my own style and system. Creativity flows through me resulting in the shapes and symbols appearing on my paintings.” Michael’s first artistic medium was magic markers. He experimented with these at age eight and used them throughout his teenage years. He liked the simplicity of the markers, the spontaneity they afforded in putting his thoughts and feelings onto paper, the ability to work with these tools instinctively, and to express himself in an inspirational manner. He also liked the markers’ very bright colors, explaining, “Colors move me the way music moves others.” Today, Michael works spontaneously, putting his thoughts and feelings onto paper and canvas quickly, expressing himself in a stream of consciousness manner, particularly in abstract art paintings. He often sketches with pencils to get his thoughts down. Then with great concentration and attention to detail, he applies oils and acrylics to complete the works. He often puts acrylic onto the canvas first as a foundation, and then adds oil for “luminosity and vibration,” as he explains. Michael Richard Rosenblatt’s canvases range from abstract works to landscapes, to still life’s to depictions of animals, and occasionally to large murals, created with pencils, acrylics and oils. He paints 10 to 12 major canvasses and dozens of smaller works and sketches each year.
Growing up in Ensenada-Tijuana was a uniquely strange experience. Fairly removed to what is commonly considered as authentic “Mexican” and being overwhelmed by California’s influence, I came across underground subculture in the mid 1980s that became the outlet for my creativity and sociopolitical consciousness . Discovering “DIY” also brought my interest to reach out and to network internationally. Without feeling confined into geographical traps, I was able to gravitate freely, focusing on quirky and spontaneous nature of every day life. Feeling the urge to testify and to record interpretations, I sought out to freeze ephemera, making the impermanent permanent, the intangible something anyone could grasp and hold onto. I’m interested in the exploration of mass produced waste and urban environments. I experience its intervals and document alterations found in weathered mechanical patterns and compile them into humorous poetic compositions. This is also a very healing process. Filtering emotions while using discarded materials represents a new contemporary identity of what it means to be Mexican, projecting a daring vision of self and the internal struggle, breaking the mold and creating a brave new example for future generations.
TI was born and raised in Japan. I received BA at Musashino Art University, Tokyo and at the Art Student League in New York City. There, I focused on studying drawing and oil painting. After moving to California, I have been focusing to create printmaking and showing my prints at Laguna Art Festival for past 10 years. I am Member of the Los Angeles Print Making Society (LAPS). I would like to be connected with things happening in the world through my art work. My art is an imprint of my life’s daily observations, feelings, and thoughts. The metal plate retains a trace of every successive stage of etching and carving, recording a process of spontaneous change and development. And new and unexpected images are born out of the process of exploring various printmaking methods such as Intaglio, relief (woodcut / linocut), and monotype.
Tom O Scott has traversed many social boundaries during his life -- from community organizer to entrepreneur to corporate executive, back to entrepreneur, and finally to full time photographer. From the beginning, Scott was in love with abstraction. As a child he was surrounded by the art of the German Expressionists. In young adulthood, he fell in love with the Mexican muralists. Today, one can see influences from both schools in his work -- what some have termed "modern elemental abstract primitivism." Scott has won many awards for his work, and it is in the collections of both corporate and private clients around the world. He gained recognition for his unique images in the Sand Vision portfolio, creations made in the sand, typically at dawn's first light during a very low tide. A great source of inspiration to Scott is the peeling paint and rusted metal found in vehicle and train graveyards, such as the Motor Transport Museum in Campo, the Orange Empire Railway Museum in Perris, the Techatticup Mine near Nelson Nevada, and many other sites. These images come from the rusting carcasses of old autos, trucks, and railroad cars. For the past two years, Encinitas based photographer Tom O Scott has spent his time scouring the Motor Transport Museum in Campo, the Antique & Gas Steam Engine Museum in Vista, the Orange Empire Railway Museum, and the Techatticup Mine near Nelson, Nevada. There are two types of images. Some come from peeling paint and rust. Door panels and the sides of railway cars take on incredible texture as they age. Others are taken from the safety glass windshields. As the glass expands and contracts over many decades in the sun, it “bubbles,” and in dying creates a new life form. All of these images are very small in real life, some as little as one or two inches square. Scott focuses his camera a few inches away, and then creates the images you see here today. Metaphor is an extremely important facet of Scott’s work. He takes care naming his images, not to force the viewer to accept his interpretation, but rather to start the process of imagination. Scott believes that his work should rise above the form, line, and texture we would expect from an abstract to the metaphor that makes us take a second and third look.
Pop Surrealism on a Spiritual Quest Painter Gloria Muriel’s work conveys a glowing immediacy, yet evokes timeless, remote worlds of mystery and allure. Her paintings, primarily acrylics, are characterized by their dazzling color and enigmatic, symbol-rich iconography. The work is predominated by images of big-eyed girls, often playing musical instruments; birds, and anthropomorphized nature, like trees and flowers with faces. Most of these compositions have a dense, murky background that suggests tangled vegetation or water. Gloria says the prevalence of young girls in her work probably refers to her inner child and hearkens back to the time in her life that was most idyllic. Though she had a happy childhood, she was also something of a loner and cultivated a rich inner world. This might explain the melancholy look of the girls in the pictures, alone with their thoughts and absorbed in their music, even as they commune with nature. This mingling of dark and precious iconography, in otherworldly settings, is largely responsible for the paradoxical moods her work evokes an intertwining of sadness and joy; of lightness and gravity that intrigues more than it comforts. Perhaps the uneasiness threaded all through Gloria’s work, from the most seemingly innocuous pictures to the freakiest, serve to express her belief in a larger, cosmic sadness, which envelops the variable moods of every individual. "In the end you’re alone," she says. "No matter what, you have to cope with life on your own." The spiritual/mystical dimension of Gloria’s paintings is salient, with recurring elements that suggest pantheism or animism -the belief that a divine presence inhabits everything around us. Nature is truly alive in her paintings, and the girls depicted, with their meditative expressions, seem utterly responsive to their animated landscape and supremely calm as the chaos of nature surrounds them. Some of the spiritual iconography in Gloria’s work is overt and draws on her research into dreams and symbols. One piece shows the goddess Lakshmi, another young girl, this one with three eyes. In Hinduism, the third eye, also called the "eye of the heart," represents spiritual perception. Many other religions revere the eye as a symbol of magical, visionary power. Gloria, a native of Mexico, lives in San Diego and is a graphic designer by trade. She has two daughters ages 11 and 12, which is the same general age as the girls in her pictures ("a coincidence," she says, slyly). Much of Gloria’s work shows the influence of illustration and is reminiscent of the pop surrealism championed by the influential magazine Juxtapoz. She cites Dali as a major influence, which is evident in her vivid palette and fantastical images. Her personal vision, though, comes through powerfully in each picture and anchors the work soundly within the realm of fine arts. Gloria Muriel’s work reveals a distinct personal style that is consistent but never static. Overall, the work has an aura that might be called immersive, where subject and periphery, foreground and background merge in a way that is all-encompassing. Such art naturally affects the viewer in a similar way, for this work … is a world to get lost in. This reflects Gloria’s essential approach: "Art is a state of being and I lose myself in the beautiful chaos that I depict in my paintings. Those feelings develop at the precise moment when my brush hits the canvas. Ultimately, though, her "aesthetic philosophy" can be summarized even more directly: "I paint what I feel."
Kyle Horrocks is a self-taught artist from New York who is currently finishing his degree in Graphic Design here in San Diego. With his influence largely stemming from the layers of colors adorning New York’s walls, Kyle felt an urge to pick up a spray can and it explore his creativity from there. Kyle is an ambitious artist with a strict work ethic. He never imagined he would find himself studying art at the collegiate level after receiving poor grades in high school. It was his relocation to the west that spurred this undeniable urge to go back to school. The quest for spirituality has positively impacted Kyle’s artwork and has also helped to keep him grounded and close to his roots of graffiti. The simplistic use of line and shape that is brought. together to create symbols known as sacred geometry is the central theme embodied in Kyle’s work.
Shilpi was born and raised at Renukoot - a small and beautiful town in the south-east part of Uttar Pradesh (India) surrounded by gorgeous hills, forests and massive water-falls. Growing up on this beautiful land, appreciation for art comes to her naturally. Shilpi’s work with art and craft reflects a combination of artistic talent, skill, and knowledge of her subjects. She began painting at the age of six. During her school years she was very active with canvas - producing many works in oil and acrylic. She took up sculpture in her early teen and spent the next few years producing incredibly life-like carvings of faces, birds, expressions and other shapes. As a freelance artist, Shilpi is self-taught and has developed her own unique style. Her understanding of art, attention to detail, and meticulous color application brings a striking realism to Shilpi’s work. Furthermore, her commitment to detail and quality are evident throughout the entire process. Shilpi naturally enjoys, and is exceptional at contemporary and Mithila paintings. For last two years Shilpi is also exhibiting her work at prestigious Gallery-21 @spanish village art center, Balboa park, San Diego.
Charity Vincent was born in Texas in 1992. She moved to San Diego in 2009 and will be graduating from UCSD this June. All of the photographs are made without Photoshop, rather through a physical manipulation of variables. Prints can be made at limited sizes upon request. For contact email email@example.com or call (760)529-3056.
As an artist and plan to be a street artist, CNZER tries to uphold a sort of "ugly truth" definition to CNZER. CNZER means just as it's said - it making fun of the idea of censorship, and a lot of the art is based off that significance. Relatively in the past year he has become stupid in love with street art, and it charms him so because of its public display of sarcasm, also in the words of Shepherd Fairy, "it's accessible and populist". CNZER's canvas bound form of art ultimately is a reflection of street artists like Shepherd Fairy, Cope2, and C215. Where he likes his art aesthetically to come out as "in your face" pop art, yet conceptually to show a form of misunderstanding or censorship placed on his subjects. Hopefully aside from other projects he is currently working on, the streets in the future can choose the CNZER crew as the next artist succeeding Shepherd Fairy or Banksy.
Lily Wang is a freshman at UCSD who is majoring in General Biology. Although she is deeply interested in science, art has provided her a tool to emotionally connect with others. She has been drawing ever since she could hold a pencil-- and this year, one of her artworks won the congressional district art competition and is currently being displayed in Washington D.C. Through use of color and distortion, Lily tries to convey some kind of emotion in each of her pieces. She wants her audience to both feel and wonder when they see her art.
Corinne Johnston is in her fourth year at UCSD studying studio art. She is fascinated with the moments of connection and vulnerability in people, and finds herself creating pieces that capture brief glimpses of those ideas. Art is a way of thinking and being, and she sees it simply as a language to translate what she observes in people.
Cheeyeon Chelsea Park is a high school senior at Westview High School. She has been drawing and painting since she was very young, and plans to continue doing so in future at college and beyond. She mainly works with painting, but has also been creating sculptural pieces on canvases that border the line between a painting and a sculpture. She has also worked with videos and prints. She plans to major art history and painting, for she is also equally interested in learning about art history, and believes that having a strong background in the subject will enhance her works.