David Linger's work takes the form of thin, translucent porcelain panels, often in large-scale works composed of multiple elements. The panels contain halftone photographs in black underglaze, overprinted with intaglio embossment of original text. His 1968 trip to Leningrad introduces us to the fragility of the human condition and opens up the viewers’ mind to the fundamental elegance of the un-extraordinary.
As staff photographer for the Oakland Tribune between 1968-1982, Kenneth P. Green Sr. captured in the still image some of the most dramatic and dynamic social changes occurring not only in Oakland, but in our time. His work reflects the best of both photojournalism and photography – a chronicle of the here and now, and a collection of personal portraits that illustrate the timeless, human side of the people involved. This exhibition highlights early photographs taken at DeFremery Park in Oakland, a center for community organizing, an important base for the Black Panther Party and for the nascent Black student movement that was taking place at Laney and Merritt Colleges.
With their iridescent shapes emerging from blue or red backgrounds, Eva Bovenzi’s paintings at one moment suggest outer space, at another the sea. The forms described are similarly ambiguous: they could be tiny or enormous. Like apparitions from a world that is both familiar and unfamiliar, these forms seem caught in the ephemeral moment between appearing and disappearing. They are mysterious messages: letters from emptiness.
Darril Tighe’s watercolors explore abstraction as a means for expressing a range of emotions through color, layering of washes and choices about composition. Tighe’s complex color combinations suggest a quality of translucence and evoke a state of reverie and reflection, through which the viewer is momentarily transported, and then returns, enriched.
Taking inspiration from Rainer Maria Rilke’s poem “As Once the Winged Energy of Delight,” Kathleen Thompson’s recent work emphasizes the vibration of color. Combining references to flowers and natural elements with the use of fluorescent paint, Thompson’s work is not just an abstraction of nature but a bridge to a timeless place.
Matthew Mullins’s large scale watercolor paintings feature private collections, archives and storage facilities, mostly associated with the natural sciences. Fascinated at the amount of material they house, Mullins envisions these spaces as giant curio cabinets housing the souvenirs of people and experiences we’ll never know.
Opposites attract. We yearn for stability and security, but our desire for variety and adventure invites risk. We know that setting goals and sticking to them will get results, yet we give in to the pleasure of breaking rules we ourselves have deliberately crafted.
Body of Light features the stunning photography of Jean-Paul Bourdier, Professor of Architecture at UC Berkeley. Bourdier's colorful images of painted bodies in a desert landscape are a combination of painting, photography, sculpture, body art, land art, performance, design, gymnastics, dance, and acrobatics.
Craig Nagasawa’s paintings examine the complexities of departures, asking viewers to consider such questions as: “What do we experience when someone leaves this world; how can we visualize such moments? Is it possible to create a liminal space in a painting where we are suspended between memory and the present?”
Chris Ashley is an artist, writer, and educator who lives and works in Oakland, California. In addition to his paintings, Ashley is known for his multi-year drawing project, which uses HTML tables to make browser-rendered images posted daily on his blog, Look, See.