Jill Holland

Reminders of You

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. Pr...

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. Pr...

Abstract ink and fibers on paper in black and white. I grew up in the United States and completed a BA in literature in Santa Barbara, CA, an MA in literature in Sydney, Australia, ...

“As an encaustic painter, I have come to appreciate and enjoy the way the hot wax pushes me beyond precision. I am a very orderly person and I think in grids. Much of my work is cent...

Mixed media multi-colored abstract painting. “Never taking anything for granted, I am so grateful to be able to paint every day.” Anne Harney is a representational painter beginnin...

Abstract oil painting in blues, white and gold. At a very young age I started studying and drawing maps. The first maps I ever saw may have been the highway maps stashed in our Ford Country Squire station wagon’s glove box. By my teens I had a map and atlas collection totaling well over a thousand and spent my free time engorged in cartography. My fascination with maps led me to study cartography at UC Santa Barbara and followed with creating maps for faculty at UCLA. Imagine the effect of spending much of a lifetime intimately tracing coasts, rivers, highways and more. Inevitably the visual rhythms of geography largely created my visual sensibility, that is, my sense of what works or does not work visually. I would dare say it has even seeped into my DNA. The interplay of a lifetime of maps and my fine art painting became most apparent in the late 1980’s when I started to create map paintings. Their purpose was not to explain the geography of a place but rather to use the essence of geographic forms to re-express them in an entirely new way. Today my paintings still echo their geographic foundation. Whether it is translating the essence of the sand patterns made by the waves on Baker Beach...

Robert Kelly’s painted collages are anchored in a step-by-step process of formal puzzle composition and informed by decades of expert surface crafting. Having grown fond of the pared...

Nancy Genn, American (b. 1929) Marshfield 25 (1977) Handmade paper collage Hand signed verso Dimensions: 20 1/8 x 22 inches Utilizing what is now known as the 'Genn Method,' Nancy Genn created three-dimensional abstract works of handmade paper, gaining international recognition in the 1970s Nancy Genn is an American artist living and working in Berkeley, California known for works in a variety of media, including paintings, bronze sculpture, printmaking, and handmade paper rooted in the Japanese washi paper making tradition. Her work explores geometric abstraction, non-objective form, and calligraphic mark making, and features light, landscape, water, and architecture motifs. She is influenced by her extensive travels, and Asian craft, aesthetics and spiritual traditions. Nancy Genn was born in 1929 in San Francisco, California. She recognized early that she would pursue a career as an artist. Her mother, Ruth Wetmore Thompson Whitehouse, was a painter and UC Berkeley alumna who played a leadership role in the San Francisco Women Artists organization. Genn studied at San Francisco Art Institute (then California School of Fine Arts) with painter Hassel Smith, and at the Art Department at the University of California, Berkeley (1948–49) with Professors Margaret Peterson and John Haley, and fellow students Sam Francis and Sonya Rapoport. In 1949 she married Vernon “Tom” Genn, an engineer raised in Japan, with whom she had three children. Career Genn's first noted solo exhibition was in 1955 at Gump's Gallery in San Francisco. She received international recognition through her inclusion in French art critic Michel Tapié’s seminal text Morphologie Autre (1960), which cited her as one of the most important exponents of post-war informal art. In 1961, Genn began creating bronze sculptures using the lost-wax casting method. Influenced by noted sculptor and family friend Claire Falkenstein, who used open-formed structures in her work, Genn cast forms woven from long grape vine cuttings, and produced vessels, fountains, fire screens, a menorah, a lectern, and, notably, the Cowell Fountain (1966) at UC Santa Cruz. In 1963 her sculptural work was exhibited with Berkeley artists Peter Voulkos and Harold Paris in the influential exhibition Creative Casting curated by Paul J. Smith at the Museum of Contemporary Crafts, New York. Genn was one of the first American artists to express herself through handmade paper, first receiving wide recognition via exhibitions at Susan Caldwell Gallery, New York, beginning in 1977, and in traveling exhibitions with Robert Rauschenberg and Sam Francis. In 1978-1979, supported by the National Endowment for the Arts and Japan Creative Arts Fellowship, she studied papermaking in Japan, visiting local paper craftspeople, working in Shikenjo studio in Saitama Prefecture, and exhibiting her work in Tokyo. She also learned techniques from Donald Farnsworth...

Born in Ottawa in 1976, Jean-François Provost holds a Bachelor's degree in Visual Arts from the Université du Québec en Outaouais. He has received several awards and honours for his ...

Diana Greenberg’s abstract color field paintings are meditations on rhythm and color found in nature. Her intuitive process begins by taking inspiration from striking color combinat...

Diana Greenberg’s abstract color field paintings are meditations on rhythm and color found in nature. Her intuitive process begins by taking inspiration from striking color combinat...

Mixed media on canvas