The Joy of Limitations: Lisa Kokin Talks About Her Process
March 30th, 2-4pm
and Slow Art Day
April 6th, 12-3pm
Two artists find common ground in format, color, materials and methods while holding their own visions and intentions. The striking confluence of visual language in these works conveys these two artists’ individual responses to their separate environments.
Jules Campbell‘s recent pieces, from the series Close Quarters, reference her experiences navigating cities and urban environments. Having lived in both London and San Francisco, and a frequent visitor of New York City, Campbell is obsessed with the geometrics and the skyline towering above teaming of masses of humanity going about their daily business. The abstracted forms in Campbell’s work suggest either a city sky-scape or an urban aerial view. Graphic elements are reminiscent of the pervasive signage of metropolitan areas and abraded surfaces allude to the wear and tear of the city.
Campbell’s work has shown at many galleries from Oakland and the east bay to Sacramento. Currently, she works from her Lafayette studio and exhibits regularly at GearBox Gallery in Oakland.
From her early years living in Asia, Phyllis Lasché's childhood memories are of exotic sensory experiences, deadly poisonous snakes, and richly-decorated Buddhist temples set amid abject poverty, disease, and violence portending wars. Against this chaos of contrasts, she found a lifelong source of respite in drawing and painting. After retiring from her career in the sciences as a nurse clinician, researcher and teacher, Lasché concentrated her energies on her art education and studio practice. Her large contemplative "tapestries" balance geometric structure and atmospheric color fields in a nod to Asian aesthetics of impermanence and contrast.
Also at Gearbox, Joseph Mele's Blank Slate in the Inner Room.
And just upstairs at Transmission Gallery: Variations on Abstraction 2010-2015, Part II, curated by Robert Ray.