when you need it most

My daughter recently had a moment. One of those turbulent, inconsolable, tantrum type moments when, as a parent, you want to lock yourself in a closet and cry away the stress. Yet in spite of myself I was able to pull up my bootstraps, get down on the floor with her and provide a warm, loving hug, yet the response that I received brought a moment of pause. Between the gasps for air as she valiantly worked to stop her crying she asked "Why are you doing this?" Doing what I asked? "Why are you being nice to me? I don't deserve it." I then went on to explain that sometimes when we least deserve it, or feel we don't need it, is when we need it most.

I later came to the realization that exploring our creative outlets is akin to an essential hug. We often need it most when we're too busy, too distracted or simply not in the groove. Julia Cameron's morning pages ritual is a practice of freehand writing, three pages of thought without filtering, without interruption, that provide a creative cleanse. As artists, these observations later come forth in our work, literally or in subtle hints that dance among the canvas. It is a necessity to our beings.

The practice of viewing art, savoring the richness of a good theatrical experience or taking in the sights and sounds of a pulsing city is as therapeutic and cleansing as any other ritual. Truth told, it is becoming the life source for my art, a wellspring of visual stimulation and mental clarity for my sanity. I think George Bernard Shaw said it best, "Without art, the crudeness of reality would make the world unbearable." Just as life without a hug would make our existence unlivable.

the price of integrity

Recently I came across an article on the filmmaker Jerome Hiller. This is a man who has been making movies since 1964, and finally received national recognition after being featured at the Whiney Museum in 2012. In an interview Hiller acknowledged that he was never going to be rich, and that "you get nothing when you talk about the prestige, this, that and the other thing - nothing comes with that. Maybe $100. It means nothing to me."

In today's competitive, hamster wheel world, where people never slow down to just breathe, I find Hiller's attitude refreshing and respectable. There is such integrity in following your passion and accepting the balance of living conservatively in order to create. These imaginative souls surround us everywhere, falling like fairy dust. We are unaware of the magic as it descends yet there is something different, better, in our world as a result. 

I see this sacrifice day to day in my involvement with The Shotgun Players, a local community theater that was created in 1992 by Artistic Director Patrick Dooley.  With "ten eager actors and a bucket of black paint" Dooley set out to always strive "for the same core values we believe in today; artistic excellence, social relevance, and community engagement." Yet that ambition came with the reality of two jobs and endless of hours of multi-tasking detail. Now, twenty one years later, Shotgun continues to thrive as the actors who fill their stage balance day jobs that allow them to do what they love and we enjoy. The experience often being taken for granted.  

Without art, film, theater, visionary masterpieces, our world would be a bland, beige environment. Yet there is little awareness of the sacrifices that are made to provide the color and texture that make our days so intriguing. Tom Judson, actor, musician and author, recently described his plight of "being broke" as he detailed the day to day sacrifices he makes, waiting tables, choosing a .99 cent song on itunes over an ice tea with his lunch, and foregoing romance for monthly visits to a Coinstar machine. Yet, Mr. Judson says his "life has been a success, and there's no one with whom I'd trade places." For no one he can think of has had a more interesting and diverse life than he. 

"If an artist is to maintain his integrity, he must be responsible to himself; he must seek a public which will accept his vision, rather than pervert his vision to fit that public." -Alexey Brodovitch

artist date

For the past four days, fourteen hours and handful of minutes I have been reveling in the surroundings of San Miguel de Allende. I sleep soundly at night, wake to the bells of La Parroquia de San Miguel Arcangel, I wander the streets while taking in the details of the buildings, the texture of the cobblestone under my feet, and the smell of the local panaderia. I meander through galleries to explore the work by local artists and yearn to get back in the studio to create. In a word it has been blissful. Rejuvenating. In her book, The Artist's Way, Julia Cameron recommends that readers take an "artists date" which is a time to exist without censure or requirements; a time to just be, to explore. The goal of this exercise is to try it alone, without the distraction of another, yet for me, I have a lovely companion in my nine-year old daughter. Regardless, it has been lovely all the same as we go on this journey together.

As an artist it's easy for me to get bogged down in the familiar while continuing to create the same work over and over. Having a respite to take in new sites has invigorated my senses and provided a relaxing environment to nourish my creative soul. Cameron states that artist dates, "fire up the imagination. They spark whimsy. They encourage play. Since art is about the play of ideas, they feed our creative work by replenishing our inner well of images and inspiration."

Mission accomplished. Feeling that I could easily stay and continue feeding on the visual candy that surrounds me I am instead heading home in two days time, hungry to get back to work.

"As artists, we must learn to be self-nourishing. We must become alert enough to consciously replenish our creative resources as we draw on them - to restock the trout pond, so to speak." -Julia Cameron


As the headlines of yesterday's news outlets screamed "Mayhem" I had an inner conflict churning within. Watching the heartbreaking images of Boston flash upon my computer screen left me to consider the definition of the term: 
  1. the crime of willfully inflicting bodily injury on another so as to make the victim less capable of self-defense or, under modern statutes, so as to cripple or mutilate the victim.
  2. random or deliberate violence or damage.
  3. a state of rowdy disorder.
The personal struggle over the headlines stem from the opening at Arc Gallery on May 4th, where my piece Rage and Love will be presented as part of the National Juried Exhibition "Mayhem." The curator invites guests to "Join in our madness, mischief, and monkey business with the aim to create pandemonium, chaos, and discord. Let the mayhem begin!"

I would like to consider the show much more a mimesis than presented in Oscar Wilde's famous quote "Life imitates Art far more than Art imitates Life." Wilde's comments were centered around a beautiful and hopeful perspective rather than a rowdy and disorderly position, yet it does beg the question of where, as artists, we find the depths of our inspiration.

The work that went into Rage and Love was a cathartic process in order to make sense of the madness over California's Proposition 8.  In the months that led up to the November 2008 election there were masses of insults, justifications and religious epithets thrown against sound arguments of love, connectedness and equality. This piece counters Wilde's statement. As an artist I chose to take life and turn the chaos into art. 

As the mayhem of Boston slowly recedes, but the spirit of those who were lost or harmed not forgotten,  my hope that something inspiring can rise from the destruction, as was evident in watching the heroes who came to the rescue of the harmed and injured. That in itself was an example of life imitating the beauty, the better side, of humanity. 

susan b. anthony

In honor of Women's History Month I am going to feature work from my series Once Upon which focuses on the founding sisters of our country. They are the iconoclastic women who worked tirelessly for change, equality and the future that we often take for granted today. Their accomplishments are often unknown and recognition is minimal, yet their achievements are remarkable and noteworthy.

Suffrage. Featuring Susan B. Anthony...

Susan B. Anthony was born in 1820 to a Quaker family with activist traditions. With a father who believed in equal treatment for boys and girls, Anthony and her sisters received the same quality education and her brothers. Initially a member of the temperance movement, yet unable to speak at temperance rallies because she was a woman, Anthony instead joined the women's rights movement in 1852. Soon afterward, she dedicated her life to the suffrage movement.

Susan B. Anthony never married, and with passionate and assertive character while enduring opposition and abuse, she traveled the world speaking out in favor of a woman's right to vote, own property and retain their earnings. In 1869, with close friend Elizabeth Stanton, Anthony founded the National Women's Suffrage Association. In 1872 she was the first person arrested and put on trial for voting. Unable to speak in her defense she refused to pay the dollar fine toward her "unjust penalty." Given her organization genius, her canvassing plan is still used today by grassroot and political organizations.

"Organize, agitate, educate, must be our war cry." - Susan B. Anthony

lucy stone

In honor of Women's History Month I am going to feature work from my series Once Upon which focuses on the founding sisters of our country. They are the iconoclastic women who worked tirelessly for change, equality and the future that we often take for granted today. Their accomplishments are often unknown and recognition is minimal, yet their achievements are remarkable and noteworthy.

Identity. Featuring Lucy Stone...

Lucy Stone, born in 1818, was a abolitionist, suffragist and a vocal advocate for the equal rights of women. In 1847 she was the first woman from Massachusetts to graduate from college. In 1854 Stone was set to marry Henry Brown Blackwell, a full supporter of Stone's mission for equality. So much so that on their wedding day they handed out copies of their "Wedding Protest" after commencing the service, less the word "obey". The protest included a stand against the law that gave the husband custody of the wife's person and the exclusive control and guardianship of their children. Blackwell believed as strongly as Stone that marriage should be a union of equals.

Lucy Stone went on to be the first woman to insist on retaining her maiden name, again with Blackwell's support, with the argument that "[a] woman should not more take her husband's name than he should hers." Lucy Stone's refusal to take her husband's name was beyond controversial and is what she has best been remembered for; those following in her steps are often referred to as "Lucy Stoners."  Since then Stone has been featured on a postal stamp, has her portrait featured in the Massachusetts State House, had a park named after her, a building named in her honor at Rutger's University and was even featured on an Indigo Girls album with the song Lucy Stoners.

"I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." - Lucy Stone

what is art?

‎"It is a matter of loving art, not understanding it." —Fernand Leger

What is art. The definition of art is described as:
  1. the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance.
  2. the class of objects subject to aesthetic criteria; works of art collectively, as paintings, sculptures, or drawings: a museum of art; an art collection.
  3. a field, genre, or category of art: Dance is an art.
I have had the pleasure of spending the past few days in New York as I submerge myself into the visual smorgasbord that exists in this city, classical and contemporary. While popping in and out of the smaller galleries in Chelsea I started to ask myself, “what exactly constitutes art?”

Is it the individual towel that is carefully hangs upon the stark wall? Is it the sound of the single, repetitive water drop that finds its way to the gallery floor? Or is it A wall pitted by a single air rifle shot by Lawrence Weiner on display at MOMA

I suppose the important element is whether it evokes an emotion in the viewer, good or bad. While many of these pieces do not always resonate with me and I don’t always understand the deeper meaning that the artist is going after, I admire the courageousness and imaginative exploration that is required to get into some of these prestigious spaces. 

Then again, the movie Untitled presents a new way of questioning the trends of buyers, the motivation in trying to be on the cutting edge of the art world, and the superficiality that can take place. 

For me, art is something that either I like, or I don't. One thing I know for certain is that when I do like it, or rather love it, I want to be enveloped in the experience. Witnessing the Basquiat masterpieces at the Gagosian produced in me an urge to just lie on the floor and let the pieces float above me as a child would lie on grass to watch the clouds. It was a peaceful yet invigorating experience.  I recognize that many may view the work by Basquiat in the same vein that I view the air rifle wall. In the end, it is the triad between artist, art and viewer that matters most. It is the experience that each member of that group brings to the experience. 

Art is what we make of it, with love or hate, but not necessarily comprehension.

art begins...

“Art begins . . . when someone interprets, when someone sees the world through his own eyes. Art happens when what is seen becomes mixed with the inside of the person who is seeing it.” - Chaim Potok

What is it that makes art so breathlessly beautiful and captivating for one, while flat and uninteresting for another? Stimulating and thought provoking for some, yet offensively instigating to others? It is, I believe, the personal story that we bring to the relationship.  As Potok is quoted above, the interpretation creates the art and thus begins the dance between art and viewer, each changing the other.

The Berkeley Art Museum is currently exhibiting the collaborative show Silence. How perfect a subject matter to allow participants to bring forth their own definitions and inquiries about silence, while questioning what constitutes art. Silence is not simply a void of sound just as art is not merely medium upon canvas. It is far more complex. It is the multidimensional synergy that brings forth the ever-changing creation; artist and viewer, canvas and paint, curator and subject matter.

A friend recently quoted Auden by saying that ‘“A real book is not one that we read, but one that reads us” just as an excellent play, [or a great work of art], seems to know all of our innermost secrets.’ We too contribute to this experience by sharing our vulnerabilities, exposing the most private parts of ourselves, creating a symbiotic choreography between the personal and the visual.  And then art begins.

the power of accepting

I have great friends. Amazing friends who are constantly reminding me of the need to accept the good that comes to me as an artist; to seek the confidence and pride in my work and to simply enjoy the moment.

I recently donated artwork to the Fall River Conservancy for their yearly fundraising gala. After pricing my piece at a range that I suspected would elicit a fair number of bids I was pleasantly surprised to learn that the piece sold for 3x what I priced it. All as others had been telling me how awesome my creative endeavor was.

So why was it that I could not simply say "thank you?" One of the biggest problems that creative people face isn't a lack of time or money, but rather a lack of confidence.  Oddly some of the most talented artists are those whose careers are inert due to a lack of belief in their work.  Jonathan Fields, author of "Uncertainty, Turning Fear & Doubt into Fuel for Brilliance," states that fear and consistency are two of the issues artists struggle with the most; Am I good enough? If I succeed will I be worthy of it? How do I succeed and what are the steps I need to take to reach my goals?

As I continue to grow as an artist, visualizing my success and defining my goals, I intend to celebrate my achievements while thanking my friends when they acknowledges my efforts and pay me sweetly kind compliments.

picasso and gilot

I recently had the pleasure of attending the Picasso and Francoise Gilot exhibit at the Gagosian Gallery in New York. Not only was the show a fascinating display of cubist fantasy, but also provided a glimpse into the relationship between Gilot and Picasso. 

There is a sensual generosity between the two, exemplified in their self portraits, images that she sketched of him, and he of her; a etherealness showing their love affair, their family life or perhaps simply covering up the strain between the two. It was a wonderfully voyeuristic glimpse into a creative life together and the way in which words are often unnecessary; especially within such visual richness.

With a forty year age difference between them, they spent a tumultuous ten years together, revolved around art, raising children and Picasso's infidelities before splitting in 1953. Gilot went on to marry two more times, and today lives in New York City and Paris, while continuing to exhibit her work internationally. The story of Gilot and Picasso is portrayed in Life with Picasso, written by Gilot in 1964.

Picasso and Francoise Gilot: Paris-Vallauris 1943-1953 will be at the Gagosian through June 30, 2012.
980 Madison Avenue, New York.

reversing the gaze (man as object)

As a participating artist in the upcoming show Man as Object: Reversing the Gaze I have been giving deeper thought to the polarities that come from gender, racial and religious differences. This particular show obviously focusing on the former. The wider the divide the more push that often comes from each side, and granted I fully accept that there once was an urgent need for fierce movement, but at some point, in the words of that oh! so eloquent speaker Rodney King, "can't we all just get along?"

There are some very prominent names included in this show. Personalities that paved the way for female artists to have a greater platform from which to create. Personalities that continue to chip away at the antiquated stereotype that the best artists are dead, french and male. Carolee Schneemann's work delves into studying the body, sexuality and gender and has been described as expressive, exuberant and intelligent. The documentary !Women, Art, Revolution, by Lynn Hershman Leeson, exposes the feminist art movement of the 60's, and Gorilla Girls on Tour!, is working to change the world, one sexist city at a time. These are all positive, change making actions, yet I question my previously weakened sense of authority in weeding out what worked for me individually vs. having a generational knee-jerk reaction.

Feminism is defined as a series of movements aimed at defining, establishing and defending equal, political, and social rights and equal opportunities for women. Somewhere along the line I picked up the idea that feminism equaled individuality and autonomy, and put men and women on opposite sides of the playing field while creating a lateral hierarchy rather than a team-based horizontal one.

From my own experience, I have found tremendous strength in accepting help, allowing myself to feel vulnerable and accept that men add to our world. Couple this with the tenacity, fortitude and focus that woman have exemplified throughout the history of the feminist movement and anything is possible. That is not to say that there won't always be men, and women, who play into the extreme stereotypes, but it's important to understand the reality of the situation rather than just reacting to or making generalizations.

Reversing the Gaze encompasses all the ways that women view Man-as-Object, by reversing the views that male artists have objectified women. While we do live in a world of instant gratification that places high expectations on how a woman should look or behave, the show's organizers aim to equalize the gaze between the sexes through the collection of male adoration, male impersonations and male appendages. As an artist who is honored to be amongst so many amazing women I can say that I will be putting on my newly found sense of authority, wrapping up in acceptance and throwing on my wide angle lenses in order to appreciate both sides of the gaze.

Man as Object: Reversing the Gaze opens at SOMArts November 4, 2011 with an opening event from 6-9pm. The exhibits runs through November 30.

la terre | interview with Market Street Gallery

Market Street Gallery: Hi Everyone... I'm very excited since this is our first facebook micro-blog interview with our exhibiting artists. We plan on conducting these micro-blog interviews with all upcoming exhibiting artists. Tamara White is our interview guest today as her solo exhibit, 'la terre' just opened on April 4th and runs through April 29th.

The opening reception is on April 9th from 6-8pm; gather your friends and stop by for the opening party.

Tamara White creates these wonderful large size mixed media paintings which we are very excited to showcase here at Market Street Gallery.

Hi Tamara, how are you doing?

Tamara White: I'm doing great. Thank you.

MSG: How is your New York trip? Are you enjoying NYC?

TW: I am definitely enjoying my time in New York. It's always a treat to come here a few times a year, and for me, as an artist, it's invaluable to have the opportunity to check out the art scene.

MSG: That's great. I love New York.

TW: It is a unique place.

MSG: So let's chat about your art; how long have you been painting or creating art?

TW: I have been doing some version of fine art since I was a teenager, but more seriously for the past 6 years. My graduate degree focused on digital art, yet I soon realized I didn't like being in front of the computer all the time, but rather enjoyed getting my hands dirty and connecting with the materials found in my pieces.

MSG: How do you choose the media which you use for your work?

TW: It is a bit of an organic process. I start off with an idea and then sort of let it evolve, as it needs to. If I know that I'm going to do a lot of layering I will typically use a panel rather than a canvas so that I can layer, remove, add, scrape, texturize...

MSG: Where does your inspiration for your work come from?

TW: The world around me. Obviously, as any artist would attest to, my personal life makes its way into my work, but inspiration can also come from overhearing a quote on the street, a sentence from a book or article I've read, graffiti quotes on the subway wall. The inspiration and ideas are endless so I'm typically always making notes when I'm out and about.

MSG: When did you discover your 'signature'?

TW: I think my signature came early through a series I created after my grandmother passed away. I had such an immense need to express what I was feeling while working through my grief that I found quotes and thoughts weaving their way into my work.

MSG: Can you briefly discuss what your 'signature' is?

TW: I would say that my signature is definitely incorporating words, thoughts and symbols into my work. It is a rare occasion when there is not some graphical element. I have a belief that it's important for the thought or element to be included regardless of it's opacity in the final version. Overall, these elements add to the texture, character and spirit of the work.

MSG: So tell us a bit about the body of work on display for the 'la terre' exhibit?

TW: This series was first conceived from photographs that I began taking while traveling between Berkeley and Fall River, in northern California. I found the typography between the two extremes to be quite fascinating. It's amazing how much texture and layering comes forth through changing seasons and time of day. I later began examining the contrast of urban landscapes that incorporate many more graphical components with that of the agricultural terrain.

MSG: "Autumn" & "la grange" are your 2 new large artworks on display at the gallery; can you tell us the story behind these latest pieces?

TW: Autumn materialized after finding an environmental management handbook from the 1950's. The canvas was prepped and then covered with pages from this book. I love the subtle texture that the pages provide to the background. As is typical in my pieces, I just continued to layer the textures and colors until the final image found its way.

La Grange was inspired by a magical place along Fall River, Graybarn Ranch. The piece lends itself to representing the amazingly beautiful changing sky, the scenic river and the passion arises from those who experience the area.

MSG: The exhibit looks really good Tamara, how do you feel after hanging this body of work?

TW: I'm really excited. It's wonderful to see the cohesiveness of the work and how well the pieces flow together within the space.

MSG: Are you looking forward to the opening reception this Saturday (April 9th | 6-8pm)?

TW: Most definitely! This is the first opening that I have had on a Saturday, and I'm looking forward to having a good turnout while seeing everyone.

MSG: Let's switch gears a bit, if I remember correctly, you have a couple of dogs right? What kind of dogs are they and what are their names?

TW: I do. I have two dogs, a boston terrier names Agnes, and a french bulldog named Jack (as in Kerouac, Sparrow, Skeleton, Be Nimble, and obviously, Jack White of the White Stripes...), lots of monikers, and I clearly like squishy faced dogs!

MSG: haha.. that's great. Do you ever have your dogs with you when you paint? Do they inspire your artwork?

TW: Not anymore. I tried but they would constantly want to lie right in the middle of my workspace, and then began seeing dog hair making its way into wet paint on the canvas! Inspire me? I don't know... probably not as much as my family.

MSG: How does your family feel about your art? Are they supportive?

TW: My family is incredibly supportive, most specifically my husband, who has always been tremendously encouraging and enthusiastic about my work. My kids are great because they will tell me exactly what they think and pick out their favorite pieces. My youngest daughter, Lucy, is always telling me that she is going to be an artist like me when she grows up. Little does she know that she has already attained her goal!

MSG: That's wonderful Tamara. I would like to remind everyone that the opening reception for 'la terre' is this Saturday, April 9th from 6-8pm. Tamara, thank you so much for doing this micro-blog interview for Market Street Gallery's facebook page. Have a safe trip back and see you at the opening reception.

TW: Thank you. This was a lot of fun. I'll see you on Saturday!

Control NYC opening

Organized around the theme of control (of lack of), the show explores the artists interpretation of all methods of control: internal, external, positive, negative, over life events and over technology, empowering or dehumanizing, politically correct, or not. Karen Gutfreund is the exhibition coordinator. www.nationalwca.org.

Ceres Gallery is proud to bring Chelsea a thought-provoking and exhilarating exhibitions of works addressing the issue of control in all its possible permutations. The Control exhibition is the culmination of two years of collaboration between the California South Bay Area and Peninsulas Womens Caucus for Art and is now brought east by Ceres. The mission of the WCA is to expand the exhibition opportunities and recognition for women in the arts, a mission that meshes exquisitely with Ceres own. February 1-26, 2011. Opening is February 10th from 6:30 - 8:30pm.

Arists: Arabella Decker, Eleanor Dickinson, Cosette Dudley, Yvonne Escalante, Angela Fortain, Cynthia Grilli, Karen Gutfreund, Elaine Jason, Judy Johnson-Williams, Louise Maloof, Yoko Mazza, Kim McCool Nelson, Joanne Beaule Ruggles, Centa Schumacher, Caroline Seckinger, Leigh Toldi, Ruth Waters, Corinne Whitaker, Tamara White

the power of inspiration

There was recently an article on the Huffington Post discussing what is better for creativity, happiness or depression. My answer is both. Life is what we make of it, and art is a reflection of that life. I am inspired by the world both around and within me, and as an artist it is only natural that these moments would come forth in my work.

I have a newfound sense of appreciation for a place of inspiration that was once overlooked. An awakening that is a bottomless wealth of creativity, love, and connection. The more that I am able to stay engaged in this awakened place the more my art is bound to prosper. As Alice Walker states in the article, despite feeling that good poetry must come from sadness, she actually found as she got older and happier she continued to write.

So as we are out there, trying to make the math of life add up in our heads, we can continue to find visual encouragement even in the happiest of times.

pro arts box art benefit auction

Please join me for Pro Arts Box Art Benefit Auction on Saturday, November 6 from 6-9pm. Boxes will be on display to preview during the week of November 2 - 6. Admission to the live and silent auction is free, and will feature Tom Vacaar from KTVU, Fox 2 as auctioneer, wine, beer, music and more!
Box Art 2010 features original works made from recycled materials distributed by Pro Arts in partnership with The Reuse People (TRP) and Habitat for Humanity. This annual fundraiser inspires fun, new work created in community with other artists working with the same materials.
Auction proceeds benefit Pro Arts' Youth Fellows Initiative, a program that nurtures artistic development by integrating arts education, exhibition opportunities, professional arts training, youth internships and youth development in the introduction of artistic practices to youth in Oakland public high schools.
For more images of Tamara White's work go to: www.tamarawhite.com

ceci est la couleur de mes reves

I recently returned from NYC, the most amazing visit I have yet to experience. It was as if my body was buzzing from the surroundings. I had the pleasure of taking in the food, the people, the theaters and museums. Amongst the two million artifacts on display at the Met I was pleased to stumble across my favorite, Joan Miro's This is the Color of my Dreams. I adore the simplicity of the canvas with the telling romanticism of the text. It is as if Miro is allowing the viewer to experience a sliver of intimacy through seven little words. If my dreams had a color I would like to believe that they would be as beautifully poetic and simplistically displayed.

This piece also reminds me that I love words. The creation of a story within a painting can leave breadcrumbs of a path, yet it is ultimately up to the viewer to make their own individual interpretation. Simple little words can move mountains and change a perspective entirely, both on and off the canvas. Ceci est la couleur de mes reves.

save the date

It's that time of year again... when artists begin to scramble diligently to complete pieces, clean their studios, put their best work forward. East Bay Open Studios!

Please save the date and stop on by. I will be opening my doors the second weekend of the event on June 12th and 13th from 11am - 6pm each day. Location: 201 Third St., #204 in Oakland, corner of Third and Jackson.

I look forward to seeing you, and if you can't make it you can check out my work at here.

suffrage is heading to nyc

I was recently informed that "Suffrage" is heading to NYC. As part of the all women Control exhibition that was featured at San Francisco's SomArts in August 2009, a portion of the show is traveling to New York's Ceres Gallery.

Ceres was founded in 1983 as a program of the NY Feminist Art Institute which promotes contemporary women in the arts. The gallery exhibits a broad spectrum of high quality work each year within a community of women artists that includes national and international members.

I am honored to be included with this amazing cast of women artists, and look forward to the experience of showing in NYC.