Stephen Maffin FINE ART
I began working with plaster on burlap ten years ago. I explore the relationship between the medium and image in my art by working to integrate the expression of the figure represented and the character of the medium itself. Through this process I feel that the figure comes alive and the image acquires a real sense of presence. I continue to explore and experiment in my studio in Berkeley, Ca. as I aspire to become a conjuror.
Barbara Maricle FINE ART
Berkeley painter Barbara Maricle has lived most of her life in the San Francisco Bay Area. Her abstract paintings and mixed media works utilize line, pattern, texture and layering to explore her interest in states of movement vs. stillness, rising vs. settling, and visual clarity vs. obscurity. She uses an open-ended process, with inspiration from the natural world.
Barbara’s work has been shown in New York, Boston, New Mexico, Utah and Oregon, as well as the Bay Area and was awarded “Best in Show” by Scott Shields in the 2014 “Catalyst” show at Gallery Route One in Mill Valley.
Karen Mason FINE ART
Karen Mason expresses a unique contemporary flair in her bird and floral andpaintings through the combination of bold lines, vibrant texture andluminous atmosphere. The influence of cultural design and Mason's heritagebecome evident in her paintings - from the raw expression of Italian Mastersstyle painting, to the balancing of nature's splendor and imperfection in acontemporary Asian style. In addition to her individual oil, acrylic andwatercolor pieces, Mason creates multi-panel paintings that can be displayedas a mural grouping or in small sets. Her paintings are on display inprivate and corporate collections across the US and Europe.
Kimi Masui CERAMICS
The solitary process of working with clay has rewarded me with an experience of peace and centering. Dealing with the unpredictability of clay and fire has developed a patience and quiet strength that is evident in my compelling colors and elegant forms. I strive to impart these qualities and the joy of using a piece of art into the lives of those who use my vessels everyday. My hope is that the final piece stands as an exquisite witness to a moment when clay, glaze fire and potter were one.
Emerson Matabele PHOTOGRAPHY
Kirk McCarthy JEWELRY
In art school, I was drawn to the playfulness and color of mobile artist Alexander Calder. Initially, the use and brightness of his colors drew me to silk screening. Eventually, I had an "Aha" moment about the color possibilities in metal jewelry, and began creating small, bright 'sculptures' for the ear that would artfully interact with the face of the wearer, and was on my way to my own craft. Once I realized the importance of craft and art to me, I could see their importance to everyone, even those who don't fully realize it. I put my personality in each piece, transmitting as much humor, affordability, color and intriguing design as I can.
Judith McKay SCULPTURE
I am inspired by the human form and the emotions that are conveyed through movement, gesture and facial expression. From the mother's embrace of her child, the stretch of the dancers' long limbs, to the withdrawn posture of isolation or pain. I try to capture that moment in time-that moment that tells the story. And just like dance or music, sculpture can tell a story without words. I arrived in Berkeley during the “Summer of Love”. I raised 4 children here, and for many years worked as a nurse. I have always expressed my creativity through sculpture, dance and art quilting.
Judy Miller SCULPTURE
I am drawn to texture and form combined with narratives that focus on everyday life. I work primarily in clay, especially raku. My series “Body Language” is a varied series of gestural figures, whose posture and attitude defines them. Although the figures have no discernible facial features the viewer is able to relate and make assumptions about these “guys” and what they are about. As with my “Town Folk” series, I like the viewers to have their own interpretations and emotional responses and touch people in different ways.
Vince Montague CERAMICS
I live and make pots in Asti, California. All my cups, bowls and pitchers are wheel-thrown and altered using a foot-powered treadle wheel. I use high-fire stoneware for durability and aesthetics. My glazes are made from raw materials. I fire the pots in a soda-kiln that creates a volatile atmosphere, where soda ash combusts with flame and the path of the fire leaves patterns across the exteriors of the pots. In a manner of speaking, the surface of each of these pots tell the story of the fire itself.
Jon Oakes GLASS
I was born in Minneapolis, Minnesota and raised in North Dakota. As a boy in the mid-west during the 1970's, I had limited exposure to the arts. Sitting down at the potter's wheel for the first time in a high school ceramics class, I immediately felt comfortable and know I was meant to throw clay. I've been doing just that since moving to California about thirty years ago.
Daniel Oliver CERAMICS
There is something mystical about a box. It is a special place where you can escape, your own small little world. It is where your treasures, your secrets are put on hold until the next visit. It is your private place, for you to share, if you wish. A box arouses your curiosity. The Mystery is unveiled when you lift the lid, the story is told.I like to make my boxes interesting with different textures, handles and glaze designs; I use the "Raku: firing technique, which gives my pieces an earthy and rustic look. They are each one of a kind.