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Stephanie T. Hoppe

Visual Arts: Textiles

Jan Hoyman

Visual Arts: Ceramics

Jan Hoyman Studio has been making pots since 1984, every piece is handmade and hand crafted. Care is given to every piece whether it is a mug for drinking coffee or a wedding platter to cherish forever. Our team includes valued employees that have been with us for over 20 years with a range of experience and artistry leaving room to grow. We work together to produce timeless pieces that are passed through generations. Continuing the Ukiah tradition for over 30 years. The studio embraces serving the community at the heart of Mendocino County. Please enjoy our pieces of Jan Hoyman Pottery daily.

Deborah Hunter

Visual Arts: Constructions/Collage, Graphic Arts, Mixed Media, Photography, Works on paper; Digital art; Digital collage; Encaustic

…will be one of six artists in the Endangered Planet exhibit at the Corner Gallery, in Ukiah, January 3 – 25, 2019. I have been involved in the arts, in one way or another, for most of my adult life. Straight out of high school I started attending Pierce Community College, known for their art and agricultural departments. I took double class loads for four years majoring in art, with a minor in biology. I have had works in some group exhibitions including Barnsdall Park, Pierce and the now-defunct Site Gallery in Los Angeles, mostly in the period of the late 1980s through early 2000s. I spent much of the 1990s working closely with artist Lun*na Menoh to assist her in materializing her artistic vision. In 1997 I started a handmade card business making multiples as well as a good deal of miniature originals. In more recent years I’ve spent part of my time freelancing as a graphic designer. In recent years I’ve become increasingly concerned about political and environmental issues and devote what time I can to activism. Our ongoing global environmental crisis has inspired this series which I’ve entitled Nature in Turmoil. All work I’ve contributed to the Endangered Planet show was created by means of digital collage and alteration of existing photographs. Displaced fragments, photo-negative effects, elements of our shared visual language such as rings that might suggest wave transmission or oversized pixels as a reference to modern technology, menacing shards, the juxtaposition of the beautiful with the cautionary, and other graphic devices are intended to create an unsettling undercurrent. Works in this series consist of a single encaustic panel and a series allowing up to 200 giclees of each work, printed on archival rag paper (typical substrate used for etchings and lithographs). Both the encaustic panels and prints and large in size. The panels are images printed on a translucent paper embedded in an encaustic layer. Part of the beauty and expressiveness of encaustic wax are the drips and swirls occurring as the wax is spread which reveal the hand of the artist. As with all visual art, any intrinsic value must be of a visual nature. If the work itself does not document or suggest any issue or convey anything of visual worth, then excessive verbal explanation given to prop it up is fairly useless. As stated concisely by Edward Hopper “If you could say it in words there would be no reason to paint.” It is my hope for this body of work to appear pretty straightforward -for it not to require a lot of narration and that it can offer something that stays with the viewer rather than a mere passing diversion. I am an artist from L.A., currently residing in Ukiah, CA. Concern about the ongoing global environmental crisis has inspired my recent work.

Happy/L.A. Hyder

Performing Arts: Spoken Word; Visual Arts: Mixed Media, Photography

I am celebrating 48 years of making images. My desire to photograph began in the 1950s as I became aware of the power of photographic imagery (although I wouldn’t have been able to articulate it at the time) through the Life magazines that came through our door weekly. A self-taught photographer, I count Margaret Bourke-White, W. Eugene Smith, and the myriad other pictorialists in Life’s pages, as my mentors. Shortly after moving to San Francisco in 1969 and two days after using a friend’s 35mm camera, I had my own Nikkormat with a 105mm (portrait) lens. At a camera store, I learned about film and how to load the camera. I joined the SF Photo Center, and, following their two-hour fundamentals in developing and printing class, was let loose in a darkroom. Within two years, I began working with a Hasselblad medium format camera (the negative is 2 ¼” square and there are 12 shots to a roll of film) with a 150mm lens (equivalent to the 105mm) and had my own darkroom. I grew to love the square format and credit the twelve shots per roll of film with the honing of my style of shooting – I spend much time setting up my shot, using my negative as a painter would her canvas, in order to print full frame. I walk away without shooting if my framing cannot achieve what first attracted me to look through the lens. I still credit those Life photographers for helping me hone my visual perspective. While the Hasselblad remains my most cherished tool, in 2009 I was dragged kicking and screaming into the digital age. I find the lightweight digital cameras I’ve been using feed my creativity. Able to carry one at all times, I am able to capture those images that earlier would only be captured in my mind since the heft of the Hasselblad meant I would only carry my camera when I was focused on photographing. With digital, I am also enjoying, and getting very interesting results, working with movement to produce abstract images. I also work with mixed-media assemblage, most often using my own images within the piece. Although taking more images using a digital format, I retain the habit of setting up shots with precision and printing my images full frame, and continue to retain a strict sensibility when choosing what to print. I also use an Epson 1400 printer and the immediacy of these digital tools is truly a wonder to my years of working in film, first in a darkroom during my 22 years working in b&w, and, with a switch to color exclusively in 1997, in having film developed and working with a professional printer.

Lolli Jacobsen

Visual Arts: Textiles, Visual Arts Instructor

Sanna Koski

Visual Arts: Painting

Painting and drawing have been a lifelong pursuit for me. I focused on realistic portrait drawing in black and white for many years, before deciding to dedicate myself to learning to paint landscapes and the figure from life in watercolor and oil. I also paint portraits of people as well as animals in both mediums. You can see more at my website: SannaKoski.com I show my artwork at the Prentice Gallery in Mendocino, and I welcome commissions.

Heather Law

Heather Law was raised in rural Northern California. In 2004, she received a Bachelor of Arts degree from California State University, Chico. After graduating, she spent several years as an apprentice at Hoyman-Browe pottery studio in Ukiah, California. From 2007-2009 she attended graduate school in Rochester, New York, at the School of American Crafts at Rochester Institute of Technology, where she obtained a Master’s of Fine Art degree with a concentration in Ceramic Sculpture. Currently she is a studio production artist and small business owner in Ukiah, CA. Law’s work is a social commentary on American consumerism, personal identity through material goods, and the waste that material consumption creates in our commodity culture. Her work is a tangible and direct representation of mass consumerism/waste and her molds are a friendly reusable reminder of the importance of being aware of our carbon footprint.

Suzi Marquess Long

Visual Arts: Murals, Painting

Suzi Marquess Long, Artist, pastels, murals, commissions Suzi@mcn.org SuziLong.com

Marta MacKenzie

Visual Arts: Ceramics, Sculpture

Nancy MacLeod

Visual Arts: Constructions/Collage, Crafts, Functional and/or Decorative, Painting, Textiles

I grew up in the beauty of oak trees and yuccas in southern California’s chaparral. From the time I was a little kid, I drew and painted and made things every day. By High School, which had a fabulous art department, the format was such that I was able to take 8 art classes my senior year. The year after high school I spent studying with painters Ed Seagaitz and Jo Mahoney in Claremont, Calif. I then moved north and put myself through Calif. College of Arts and Crafts making one-of-a-kind art-to-wear garments, and graduated with distinction with a major in Fine Arts, emphasis in painting. I lived and made art in the Bay Area until 2003, when we moved to Philo, where we still live. My main goal in creating art is to make political, social and spiritual commentary in a way that is playful and fun to have around. I like to paint pictures about things I think have an important message. Some of those things are really very ugly, like war, injustice, environmental destruction- but I don’t like to paint ugly things. The idea I want to convey is often, though not always, serious. The execution is meant to be fun, playful, so as not to scare the viewer away, but to give them pause to think on it without being beaten over the head. I paint in what I call “Primitive Narrative”, or “Folk Art Fantasy”. My husband and I also make furniture together, mostly cupboards, which we call “Folk Art Fantasy Furniture”.

Larain Matheson

Visual Arts: Mixed Media, Painting; Encaustic wax and oil

These recent paintings I’ve done reflect my love and inspiration from nature, and abstracting the forms I see in the universe. I have been working in ENCAUSTIC WAX and OILS for over 8 years. I have been an artist for over 35 years and received an M.F.A. from U.CL.A. I am captivated by the medium of encaustic which reveals new space and depth, colors, transparencies and surprises. Use of multimedia and collage in my work to experiment with the pigmented wax , I can pour, paint, monoprint and texture the paintings. My work spans abstract to realism. I am always connecting with the energy of the four elements: Earth, Air, Fire, and Water. See more at larainmathesonart.com Encaustic is an ancient medium dating back 2000 years, and was used by the Greeks and Egyptians. I am a member of the Encaustic Art Institute in Santa Fe N.M. and have exhibited my work in Mendocino Art Center, Dolphin Gallery , Cirrus Gallery in Marin, Sebastopol Art Center, Berkeley Art Center, and numerous other galleries and shows throughout California and Colorado. My work is published in the EAI catalogue in Santa Fe, and in “Art Takes Miami “book for 2012. I have taught art at Riverside City College, Santa Ana Jr. College and Marin JC . in California. I continue to teach Encaustic Workshops at my ocean studio twice a year, in Fall and Spring. The process I use takes many turns and as long as I am open to the way the paint moves and the process of heating each layer with a torch to “fuse” the paint, the patterns and images begin to emerge. I paint to discover the unseen, make it visible and return to the connections that nature inspires.

Stan Miklose

Visual Arts: Painting

Jazzminh Moore

Visual Arts: Illustration, Mixed Media, Painting, Visual Arts Instructor, Works on paper

I was born at Breitenbush Hot Springs in the Willamette National Forest of Oregon. At age two, my mother and I moved to Encinitas, California. My childhood hinged on making this 1200 mile journey twice a year to see my father, first by car and later by plane, and set me up for a life of travel. After high school, I lived in every major city on the west coast and then spent years in NYC, building an art career and traveling the world. I now live in Willits with my six year old daughter. Willits happens to be equidistant between my two childhood homes and for that reason, feels like a perfect place to have landed. Spill, acrylic on birch panel, 23” x 48”, 2013 For nearly twenty years, I was known for painting dynamic portraits with a sense of movement and psychological complexity. In 2018, I ventured into collage and have not looked back. My work has been fundamentally changed. Through the medium of collage, I can unlock subconscious content and imagery heretofore unmined within the confines of representational portraiture. All recent paintings are informed by collages. My work can be viewed at http://www.jazzminhmoore.com I received my BFA from Cornish College of the Arts in Seattle, and MFA from California State University, Long Beach, both in Drawing and Painting. I have had solo exhibitions in NYC, LA, SF, Paris and elsewhere. My work has been featured in various publications, including New American Paintings, American Art Collector Magazine, the Village Voice, Interview and Zing Magazine. Recent teaching experience includes seven years in Cornish College of the Arts’ Summer Program and an intensive painting retreat at Anderson Ranch Arts Center in Aspen, Colorado. I currently teach Portrait Painting and Figure Drawing at Mendocino College. Claire de Lune, mixed media, 36” x 36”, 2018

Jim Moorehead

Visual Arts: Photography

My artistic vision is best conveyed through the photographic image; the goal being that the image speaks directly to the viewer, preferably without the use of written or spoken language. Since childhood, I’ve looked at the world through a viewfinder, sometimes figuratively, sometimes literally, trying to capture on film or digital memory, that image that best records my impression of a scene, experience, person, whatever. I’ve traveled extensively and like to think that I’ve collected a record of my life through the camera lens. Although the methods and equipment have changed radically from my first Brownie Hawkeye with its paper-encased roll film to the Canon digital SLR, my artistic skills are inherent, not tech dependent. The camera, software, printer, website are merely the tools used for expression of my art.

Blake More

Graphic Arts; Literary Arts; Multi Arts; Performing Arts: Dance, Spoken Word, Theatre; Visual Arts: Constructions/Collage, Functional and/or Decorative, Graphic Arts, Murals, New Media/Technology, Painting, Performance Art, Performers and Writers

A 1987 graduate of UCLA and a lifetime member of the Phi Beta Kappa Honor Society, Blake More is an artist with many creative voices and expressions. Blurring the boundaries between disciplines, her work embraces visual art, poetry, video, performance, costume design, teaching, functional mixed media art/life pieces and hand-painted art cars, including her newest artcar, a Mercedes SL500 painted with a metallic palette she calls “Star Yantra” (staryantra.life). Blake first stepped on stage in Japan in 1994, when she agreed to recite poetry with a friend’s jazz band at a Shinjuku music club in Tokyo. Since then, she has performed her spoken word art in a range of venues—from cafes, art galleries and museums to 1000 seat theaters—in major cities all over the world, including Tokyo, Los Angeles, New York City, Amsterdam, New Orleans, and San Francisco. Her performance art is a fusion of spoken word, music, yogic contortion, dance, trapeze, clowning and costuming. She creates to reveal, questions to inspire and shares to engage the audience in soulful expression. Among her performance highlights are the time she shared the stage with jazz pianist Cecil Taylor and beat poet Tony Seymour in a Bob Kaufman tribute reading at the Main branch of the San Francisco Public Library, and the International Poetry Festival in Amsterdam (sponsored by the Provost Poets). She has traveled cross country on a performance tour with a group of San Francisco performance artists and musicians that then became the movie “Head Trip”. But her favorite project to date is a multimedia play called Boxing Pandora, which she wrote, produced, costumed, directed and stared in; 75 minutes long, the play itself involved the efforts of over 20 local artists and included an original score, original video (both live and prerecorded), a 13 member Greek-inspired chorus, poetic monologue, dance, audience participation and a trapeze (no monkeys though). A freelance writer for 15 years, Blake’s work appeared in Utne Reader, Yoga Journal, Intuition Magazine Alternative Medicine Digest and Tokyo Time Out. To date, she has written two non-fiction books, one fiction book, and three poetry chapbooks. Her most successful book is a holistic health book entitled Alternative Medicine’s Definitive Guide to Headaches, which has sold over 100,000 copies sold to date. Her poetry has appeared in a number of literary journals and books, including Heart Flip (CPITS anthology), The Alchemy Of The Word: Voices At the Edge, San Francisco Poets Live At Venue 9, Wood, Water, Air and Fire: Anthology of Mendocino Women Poets, Hard Love: Looking at Violence & Intimacy, The Toaster Broke, So We’re Going To Get Married. Author of five books of poetry, her book godmeat is a collection of poetry, prose, color artwork, and a DVD compilation of poem movies (available at godmeat.com), and her chapbook Up In the Me World is available on her website. In addition to her writing, she teaches poetry, multimedia art and performance to K-12 youth. A California Poets In the Schools (CPITS) poet teacher since 2000, she is also the Mendocino County Area Coordinator for CPITS. She organizes two annual Mendocino County High Schgool Poetry Slams and serves as the coach of the Point Arena Youth Poetry Slam Team. She also writes grants to do special, longer residencies, including: One of these projects was entitled “The Poetry Of The Blues”, in which she and New Orleans blues pianist Nelson Lunding guided 2nd thru 8th grade students in the writing of original 12 bar blues songs (with titles such as “Rocks in my Shoes”, “Our Bus Life” “Soap Opera School”), which were then arranged by Nelson and sung by the kids. These recordings were compiled into five original Kids Blues CDs, and one compilation CD entitled “We’re Playing Blues”, which is currently on sale as a fundraiser for “Gualala Arts In the Schools”. In another especially noteworthy youth project, she and videographer Christian Birk guided six Native American youth in the creation of a documentary film about living on the Pomo Reservations of Kashia, Point Arena, and Manchester in Sonoma and Mendocino Counties. Because of its raw power and unadorned honesty, the youth film crew became one of 14 youth groups in the nation to be invited to participate in the 2003 Reel Studio Young Filmmakers Workshop at Sundance Film Festival in Park City, Utah; the film has been widely shown to diverse audiences, from schools to art centers, from tribal centers to businesses and social service organizations. It even managed to land a spot on the shelf in the Smithsonian Cultural Heritage Library. She hosts an hour-long public affairs program called Women’s Voices on KZYX&Z FM Mendocino. She is also sits on several non-profit arts and education boards, and volunteers with many local organizations. For an extensive list and exploration of Blake More’s creative world please visit her website: www.snakelyone.com

Performing Arts: Spoken Word, Storytelling, Vocal; Visual Arts: Film, Illustration, Murals, Painting, Performance Art, Visual Arts Instructor, Works on paper

JAYE ALISON MOSCARIELLO, MFA, Transart Institute/Plymouth University Cell/Studio: 310.970.4517 artisall@earthlink.net www.chasethemonkey.org BORN New Haven, CT RESIDE Redwood Valley, CA SELECTED MUSEUM EXHIBITIONS 2007 “The Last Show,” Asto International Art Festival, Asto Museum of Art, Los Angeles, CA “Simultaneous Multiplicity,” Asto Museum, Los Angeles, CA Gwangwhamoon Int’l Art Festival, Korea National Assembly Library of Korea GIAF, Korean Cultural Center, Bejing, China 2006 “15th Lantern of the East LA International,” Asto Museum, Los Angeles, CA 2002 “Mane Manebu,” Kid’s Plaza Museum, Osaka, Japan. 2000 “Bridging Two Milleniums,” Lalit Kala Akademi, New Delhi, India 1999 “Group Show,” Lalit Kala Akademi, New Delhi, India. Rutman, Howard, “What’s Up & Coming,” LA City Search.com, January 2002. Emenegger, Ashley, “How to Get Unstuck,” Artline Newsletter, Los Angeles, CA, Fall 2001. Etkin, Jay S., “Body & Self – A Hit in Memphis,” I.A.S.G. Newsletter, vol.7, num.2, Mar 2000. Lalit Kala Akademi, Catalog, I.A.S.G. Invitational, March 1999. Shaw, David, “1nE Review,” Memphis Flyer, Memphis, TN, December 1999. Shay, Daniel, “7th Street Int’l: Round Up the Usual Suspects,” I.A.S.G. Newsletter, vol.4, num.10, Washington, DC, December 1997. ARTIST-IN-RESIDENCIES 2006 – 2008 SEA, Montebello, CA Berendo Middle School, Los Angeles, CA La Vida West Pregnant Minor Program, Lawndale, CA Sponsored by Theatre of Hearts/Youth First, Los Angeles, CA PUBLIC ART 2008 Walgrove Elementary School – Courtyard Mural , Mar Vista, CA Hillcrest Elementary School – Outdoor Mural, Los Angelels,CA 2007 99th Street Elementary School, Library Mural, Los Angeles, CA 42nd Street Elementary School, Outdoor Mural, Los Angeles, CA ART WORKSHOPS 2000-2005 “Breaking Out”, Art Bootcamp for Blocked Creatives, Santa Monica, CA “One Minute Storytelling” Sister Corita Art Center, Los Angeles, CA “Sending a Message,” Sister Corita Art Center, LA, CA EDUCATION MFA, Transart Institute/Plymouth University, Berlin, Germany and Plymouth,UK

Jaye Alison Moscariello

Performing Arts: Storytelling, Vocal; Visual Arts: Film, Murals, Painting, Performance Art, Visual Arts Instructor, Works on paper

JAYE ALISON MOSCARIELLO 12400 Bakers Creek Rd. Redwood Valley, CA 95470 310.970.4517 artisall@earthlink.net www.chasethemonkey.org www.jayesite.com @jayepo BORN New Haven, CT RESIDE Redwood Valley, CA EDUCATION 2013 – 2015 Transart Institute, Berlin, Germany and New York, New York Masters of Fine Art 2012-2013 Mendocino College, Ukiah, CA 2004 Santa Monica Community College, Santa Monica, CA 2000 University of California Los Angeles, CA 1993 Art Students League of New York, New York, NY 1977-1978 Creative Arts Workshop Studio, New Haven, CT 1972-1976 Paier College of Art, Hamden, CT SELECTED GROUP EXHIBITIONS 2016 “The Anthropocene Show”, Redwood Valley Grange, Redwood Valley, CA* 2015 “Transient Transgressions”, Somos Gallery, Berlin, Germany* 2015 “Loose Ends”, Somos Gallery, Berlin, Germany 2014 “Pop-Up” Show, Transart Institute at Somos Gallery, Berlin, Germany (July) 2014 “Fifth Annual Altered Books Exhibition”, MarinMOCA, Novato, CA (Apr.) 2013 “Pop-Up” Show, Transart Institute at SuperMarket, Berlin, Germany 2012 “Food for Thought” Mendocino College Art Gallery, Ukiah, CA 2012 “Anderson Valley Artists” Oddfellows Hall, Mendocino, CA 2010 “Anderson Valley Artists” Oddfellows Hall, Mendocino, CA “Artist Collective at Elk at Gualala” Gualala Arts Center, Gualala, CA 2009 “Artists Collective at Elk” Gualala Arts Center, Gualala, CA* “113th Annual Open Juried Exhibition” Catharine Lorillard Wolfe Art Club, National Arts Club, NY “Art in the Redwoods,” Gualala Arts Center, Gualala, CA 2007 “The Last Show”, Asto International Art Festival, Asto Museum of Art, Los Angeles, CA “Simultaneous Multiplicity,” Asto Museum, Los Angeles, CA Gwangwhamoon Int’l Art Festival, Korea National Assembly Library of Korea GIAF, Korean Cultural Center, Bejing, China 2007 “Paris Open 2007” Atelier Grognard, Rueill-MalMaison, France/Espace, Villpinte, France 2007 “THE Swimming Pool Show” ROARK, Los Angeles, CA 2006 “15th Lantern of the East LA International,” Asto Museum, Los Angeles, CA 2006 “15th Lantern of the East LA International,” Doizaki Gallery, Japanese American Cultural Center, Los Angeles, CA 2006 “10 Points of View,” ROARK Gallery, Los Angeles, CA * 2004 “Hollywood Bowl Sphere Art Project,” Cause & Effect Gallery, Torrance, CA. 2003 “From Korea to Iraq…” Anti War Posters Show, Track 16 Gallery, Santa Monica, CA. 2002 “Reactions,” The Williamson Gallery, Pasadena, CA. “Naughty Bits & Pieces,” Gallery 825, Los Angeles, CA. curated by Christopher Miles “Reactions,” Exit Art, New York, NY 2002 “Mane Manebu,” Kid’s Plaza Museum, Osaka, Japan. 2001 “California Open,” curator, Christopher Miles, Gallery 825, Los Angeles, CA. “Watermedia,” Bigfork Art & Cultural Center, Bigfork, MT. 2001 “It Figures,” Key Club Video Billboard Show, Los Angeles, CA.4- Person Show, 1st LA Billboard art show. page 2/Moscariello 2001 “Lust & Revenge in the Year of the Snake,” Josephine Butler Center, Washington, DC. 2001 “I.A.S.G. at MOCA,” Museum of Contemporary Art DC, Washington, DC. 2000 “Bridging Two Milleniums,” Lalit Kala Akademi, New Delhi, India 2000 “Invitational,” MOCA-DC, Washington, DC. 2000 “California Open,” curated by Carol Ann Kloneides, Gallery 825, Los Angeles, CA “Reflections of Humanity,” Marlboro Gallery, Largo, MD. “Body & Self,” Cooper Street Contemporary Gallery, Memphis, TN.* 1999 “1nE,” Vertigo Gallery, Memphis, TN. 1999 “I.A.S.G. Group Show,” Lalit Kala Akademi, New Delhi, India. 1998 “Downtown Lives_,” Downtown Artists Development Association, Los Angeles, CA “Erotica,” Olympia Hall, London, England. “Speak Out_,” Matrix Arts Gallery, Sacramento, CA. 1997 “Generations,” A.I.R. Gallery -25th Anniversary Invitational, New York, NY. 1994 “Art of Northeast America,” curated by Holly Solomon, Silvermine Artists Guild, New Canaan, CT “Group 1V,” Brooklyn Waterfront Artists Coalition, Brooklyn, NY. 1993 “Art of Northeast America,” curated by Eliza Rathbone, Silvermine Artists Guild, New Canaan, CT “Group Annual,” Brooklyn Waterfront Artists Coalition, Armory, Brooklyn, NY. 1992 “Salon of the Mating Spider,” Testsite, Williamsburg, NY. “Annual Show,” Brooklyn Waterfront Artists Coalition, New York, NY. SELECTED SOLO EXHIBITIONS 2017 “Politic-OH!”, Willits Center for the Arts, Willits, CA, Oct. 2011 “Chase the Monkey,” Scharffenberger Cellars Art Gallery, Philo, CA 2010 “Mendocino Coast” Lauren’s, Boonville, CA “Land and Sea,” Artists Collective at Elk, Elk,CA “Ocean Series,” Canele, Los Angeles, CA 2003 “Narrative Works,” Flynn Gallery, Raleigh, NC 2002 “Inside/Out,” Modern Art Gallery, Los Angeles, CA SELECTED ARTICLES AND PUBLICATIONS Reith, Sarah, “The Anthropocene Show”, Ukiah Daily Journal, April 2016 Museum of Contemporary Art – KIASMA Studio,“In the Middle of a Movie,” Catalog, Helsinki, Finland, November 2004. Dickson, Laurie, “Artists Interiors…,” Rockport Publishing, November 2003. Mastbaum, Blair, “Art Pick,” DigitalCity.LA, Los Angeles, CA, November 2002. Emenegger, Ashley, “Drive-by Art,” Artline Newsletter, Los Angeles, CA, Spring 2002. Rutman, Howard, “What’s Up & Coming,” LA City Search.com, January 2002. Emenegger, Ashley, “How to Get Unstuck,” Artline Newsletter, Los Angeles, CA, Fall 2001. Etkin, Jay S., “Body & Self – A Hit in Memphis,” I.A.S.G. Newsletter, vol.7, num.2, Mar 2000. Lalit Kala Akademi, Catalog, I.A.S.G. Invitational, March 1999. Shaw, David, “1nE Review,” Memphis Flyer, Memphis, TN, December 1999. Shay, Daniel, “7th Street Int’l: Round Up the Usual Suspects,” I.A.S.G. Newsletter, vol.4, num.10, Washington, DC, December 1997. . SELECTED PUBLIC COLLECTIONS Center for the Study of Political Graphics, Los Angeles, CA Library of Congress, Washington, DC National Archives, Washington, DC Paier College of Art, Hamden, CT St. Joseph’s Hospital, Bob Hope Wing, Los Angeles, CA *Co-curator

Bill Mulvihill

Graphic Arts; Media; Visual Arts: Graphic Arts, Mixed Media, Painting, Works on paper

Bill Mulvihill has lived on the north coast since 1970. In the early seventies he worked with Mendocino Art Center instructors Charles Stevenson and Dorr Bothwell. He was also involved in theatre productions performed there, doing posters, stage managing, costume and set design. In the years since then, Bill has worked in many art mediums, drawing, portraiture and printmaking being particular favorites. After completing the College of the Redwoods Graphic Communications Program, he received the certificate in May 2007. Currently, in addition to working with the Arts Council of Mendocino County, he is assistant editor for the Fort Bragg – Mendocino Coast Historical Society newsletter, “Voice of the Past”. Bill also does other design/layout work, digitizing analog audio, & CD and DVD disc design and duplication.

Kitty Norris

Graphic Arts; Visual Arts: Graphic Arts

www.magneticgraffiti.com Made in California from American Made Raw Materials

Gene Avery North

Visual Arts: Illustration, Painting

Leopard Woman and the Teachers ©2013, 30 x 48 Originally from Memphis, Tennessee, Gene Avery North studied painting and photography with Burton Callicott and William Eggleston, respectively. She currently resides in the hill country of Northern California. Strongly influenced by the realism of the fifteenth century Flemish and Italian masters, Gene uses her technical capability, combined with spiritual symbolism, to create a very realistic dreamtime world. For Gene, the creative process begins with an impression, a fully developed image which is the inspiration itself. Little or nothing is done to change or interpret these original “ideas” or lucid dreams. The meaning of these symbols is up to the viewer. “One reason I paint is because I was unable to go to veterinary school, and the art school let me go there for free. Then I mostly painted for rich Texans, which left me indelibly outraged. Now that I am on some hard-won social security, I no longer have to do commissions of things that I would not do otherwise. Painting is the best way I know how to express myself, without using language. I talk way too much. I have always wanted to be a cartoonist, who could paint like Bronzino. Back in those days, if the powers that be did not like what you painted, you would be drawn and quartered by four laughing horsemen. I do not like to talk about art, because the personal reasons I have for painting, are completely irrelevant to the viewer. When I say my words about the paintings, they influence the people who read these placards. Sometimes when I go to a museum, I realize that I just spent more time reading the message than actually looking at the picture. And while it may be true that the meaning is what fascinates, I would wish that the paintings could just speak for themselves. For this reason, there are no cards for you to read about these paintings. Sometimes when you dream, or “see” something interesting, you would never dare to put it into words. There’s something very libelous about words in America, but happily, it’s still safe to be a “crazy artist”. There is no explanation for spending about 500-1,000 hours on each picture. Doing something with my hands, and focusing my attention on that, makes me stop thinking. Which is very quiet, and peaceful. I like to paint heroes and goddesses, with plenty of horses. I like to make graven images and pray to them while I paint them! I want the world to be happy. I am an artist because it prevents me from exploding.”

Kristin Otwell

Visual Arts: Mixed Media, Painting

I have been exploring nature with watercolor for over 40 years. Trained as a scientific illustrator, my subject matter has included succulent plants, rocks, leaves and trees rendered with a combination of detailed realism and a focus on abstract design.

Chris Pugh

Visual Arts: Photography, Printmaking

Chris Pugh (b. 1971, Ukiah, Ca) is an award-winning documentary photographer from Ukiah, California. He is a member of the Partial Arts photography collective, c0-founder of the Ukiah Photography Club, and the Deep Valley Arts Collective. He is currently the editor of the Fort Bragg Advocate-News and the Mendocino Beacon. Outside of photography, Pugh is known for his love of loose leaf tea, locally brewed craft beer, 80’s heavy metal music, and his fondness for useless trivia knowledge.

Elizabeth Raybee

Visual Arts: Murals

Elizabeth Raybee’s work has been exhibited at the San Francisco Crafts Museum, the National Jewish Museum, San Francisco’s Yerba Buena Gardens and Museo Italiano, Museum of Man in San Diego, Chicago’s Navy Pier and Ukiah’s Grace Hudson Museum. Her commissions include the San Francisco Arts Commission, Laguna Honda Hospital, Eden Housing Inc., The San Geronimo Valley Cultural Center, Willits Skate Park, Orr Hot Springs and numerous private homes. Her work has appeared in Bay Area newspapers, on the cover of Artweek Magazine, in television spots and in several contemporary mosaic books. Raybee continues to create residential works for people locally and out of the area.

Janet Rosen

Visual Arts: Illustration, Painting, Works on paper

Why make art? For many of us it is a way to mediate reality, to integrate and make sense of the world and then put it “out there” for others to experience. My aim is to create a narrative with enough space for the viewer to enter and find their own story. See more drawings & paintings in the gallery below and at www.janetrosen.com I enjoy working in series, some of which may be completed within weeks while others encompass years of intermittent work. Most projects end up being meditations on time, whether it’s capturing the play of light on moving water, the distortion of time created by illness or isolation, the passage of the sun and the seasons across an oak-studded hill, or the temporality of human life. During the pandemic I began a daily drawing practice focused on the faces of fellow artists on the Sktchy app and more recently this has led me to picking up water-soluble oils for portraiture. You can reach Janet Rosen at mendojanet(at)gmail.com

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