Printmaking is my art making process of choice.
Reworking seem to best describe the implementation of that process that happens during my art making. I will start with either a copper plate, a card board collogragh or sometimes a blank plexi plate. I will work the plate to a stopping point. Then I will work with the actual printing. How many ways can I say something in this print if I can change the color, add stencils, use chine colle, change the paper? It's fascinating to work like this because so many possibilities come about.
Adriana Díaz is a Bay Area native with a long exhibition history. “Painting is a free improvisational choreography,” she says. “I dance with the materials, and we stretch each other to reveal new dimensions of ourselves. The finished painting is an energy field which I hope will engage and challenge the viewer to be more sensually present to life. Looking at the world with all of our senses makes everything more vibrant, and even larger and more fascinating than we think it is.”
Diaz, the author of Freeing the Creative Spirit, (Harper San Francisco), is also a writer, teacher and certified life coach.
I‘ve always been fascinated by all that I see in the natural world. My passion for studying and portraying that beauty is the force behind my paintings. I paint to capture qualities of shifting light, long vistas of space evoking possibility and freedom, visual evidence of the movements of wind or water, and the complexities of vision, like rocks submerged in water seen through a surface reflection of the sky.
A love of paper is what drives my work. Handmade Japanese paper, along with treasured pages from old Japanese books. With their calligraphy, dust, and wormholes, they bring hidden stories with them. Although sometimes called paintings, my collage work includes neither paint nor ink. Just the colors and textures of the paper, accented here and there with single threads, gold leaf, or a piece of silk. Born on the East Coast, I've lived in London and Japan, and now work out of my studio in Mill Valley. I've had many solo and group shows, and my work appears in collections on both coasts and in London and Cornwall.
Alice Gibbons was born in San Francisco, California and studied at the San Francisco Art Institute in the mid 60s. Her etchings have been awarded in local, national and international competitions. She says of her subject matter: "These scenes of country and city are, to me, portraits. Instead of depicting actual people, I portray their environment, which represents them because they are interconnected."
Lisa Haderlie Baker
Lisa Haderlie Baker lives and paints in Alameda. Her beautifully framed paintings are of quiet corners of the Bay Area, and detailed studies of animals and nature. She paints in water-soluble gouache on heavy rag paper, and in oil on canvas and museum board. Her favorite subjects are twilight landscapes and streetscapes, old neighborhoods, quiet gardens and shorelines, and of natural scenes, often featuring animals and storybook settings.
Michele Hausman creates landscape oil paintings both plein air and in California studio. Inspired by the natural world, she evokes nature as a healing, calming force in a world that is often unpredictable. Her paintings are windows onto the wetlands, oceans, and farmlands that enrich our California Coastal communities. Hausman participates in many art festivals, including the King’s Mountain Art Fair, the KPFA Summer Arts Fair, and Santa Cruz Ocean Art and Sea Glass Festival. An article was published about her painting in American Artist magazine in July 2010, when she was a finalist in the magazine’s cover contest.
My subject matter is varied, most often I find a fantasy or surreal picture emerges from the paint. The sub-conscious process involved in creating intrigues me. As I develop a painting a seed unfolds to what will ultimately become. The organic shapes I paint reflect this process. Painting involves releasing pictures from my mind, and letting them develop without judgement. I seldom use more than three primary colors and white. This creates a large variety of colors that relate to each other. I put down many layers of color, then wash them out, creating my own "seed". As the layer build up and the seed matures, I work towards a definite image. I articulate hidden colors and forms with acrylic. The final image is a result of research, experimentation and invention.
Growing up in Lancashire milltown surrounded by stone-built moorland farms has strongly influenced my choice of subject. I find suburbia unpaintable, so I have sought out gutsy images such as old boatyards, industrial dereliction and remote pre-modern rivers and harbors. As there are less and less of these around, I occasionally take refuge in fantasy, enlivening serene Lake Merritt for instance, with a sinking ocean liner and a surprised Tyrannosaurus Rex.
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, California as I aspire to become a conjuror.