Gallery Hopping in San Francisco

It feels like I have not been gallery hopping in San Francisco for a couple years especially with the shifting terrain of gallery locations over the last few years.  I caught wind of the opening of the Minnesota Street Projects in Dogpatch a couple weeks ago and was excited to find out that the space would be open before I arrived for my visit.

I hopped on the T Third Street Rail and headed to the Dogpatch neighborhood and marveled at the changes in the area since I was last in the area.  I remember playing a show in a small divey space in the neighborhood probably a decade ago and was fascinated by the industrial surroundings.  The industrial feel is still there, but there are clear changes.

Waiting at the Philz Coffee headquarters for another friend, we stopped in for a much needed caffeine boost and lounged on the comfy sofa.  The view of the Minnesota Project from Philz looked like this.


There are almost 10 galleries in the space at the moment.  With some familiar names that used to be on Geary, such as Rena Bransten, Anglim Gilbert, and Jack Fischer.  Eleanor Harwood is also located here.  A few names for me included Casemore Kirkeby, Et Al Etc., and Evergold Projects.

First of all, it is a beautiful and welcoming space.  It somehow reminded me of a scaled down version of the Glassell School of Art in Houston with its open plan and clear visibility of all the galleries from the ground floor.  Kirk Maxson’s exhibition at Eleanor Harwood, Enrique Chagoya’s exhibition at Anglim Gilbert, and Serge Attukwei Clottey at Evergold Projects were among my favorites.  I was hoping that Michael Sell’s exhibition at Jack Fischer was here, but it was at his main space on 16th and Potrero.  After a quick lunch at Hazel’s Kitchen with a roasted turkey cranberry sandwich and roast beef and cheddar sandwich, we headed to that intersection.  The Michael Sell exhibition at Jack Fischer was such a treat.  The images online do not do the work justice.  The three-dimensionality of the collages is only really evident in person.  Very very beautiful and inspiring.  I was quite satisfied with what I had seen up to that point and then we went hunting for Hosfelt Gallery which use to be South of Market on Clementina.  I remembered that there was an exhibition up that I wanted to see, but I could not remember who it was until we made our way into the gallery space…Tim Hawkinson!  He along with Tom Friedman are the two artists whose craft and concepts I have used as inspiration and reference ever since graduate school.  The enormous space of Hosfelt Gallery gave his works plenty of room to breathe.  His work which I have not seen in person in almost a decade did not disappoint in the least.  After lingering over all his pieces for what seemed too brief, we walked out happy with what we saw and had some drinks over at Pacific Brewery.

Notes from The Eye’s Mind – Collected Writings of Bridget Riley

From the section “Development As Painter”

working out a vocabulary of marks and pictorally structural elements to evoke certain states of feeling or states of mind

serialism in music (look up serialism)

circle considered most restrictive form

dialogue between artist and pictorial medium

the area of decision is the creative element

tempo of the whole picture vs. tempo between units

relationships – constancy/change; contrast/harmony; identity/contradiction; direction; rhythm; pace; repetition

the curve as a rhythm vehicle for color

paintings focused on color perception can lead to an iridescence problem

reading a painting like a musical score

think of thin vertical lines as edges

creative art never begins with a poetic mood or idea, but with the building of one or more figures, the harmonization of a few colors and tonalities (P. Klee)

begin with spatial properties

the artist’s reaction to subject matter creates content

a space which invites and accommodates a certain group of sensations


Back to the studio

In an attempt to keep things in the pipeline, I spent Hallow’s Eve preparing four applications for grants and exhibition calls.  In keeping with my plan to minimise the amount of organisational effort required, I submitted to one grant, one online exhibition, one billboard project (digital file only required) and one exhibition call entitled “Drawing Discourse”.  I have three more applications for the end of November, but I do not need to work on them for another week or so.

Saturday was spent catching up with a curator / gallerist that I have been in contact with over the last two years.  She expressed an interest in my “100 Days in my Sketchbook” project and I had just finished the project the day before so I decided to bring all the drawings to our meeting.  We caught up while she went through all the drawings, all six sketchbooks!  It was the first time to get feedback about the drawings outside of social media.  It was interesting for myself to take a quick glance at the progression over the last four months.  I noticed that I would work in the same style or use the same drawing implement for about a week before moving on to something else.  I think this resulted from the conscious effort to make sure that I did not get stuck in a rut over the 100 days so that I experimented as much as possible.  As the curator looked through the drawings, she mentioned a strong affinity for my more obsessive drawings with a fine pen and especially those with small repeated square/rectangular forms.  After looking through the drawings, we headed out for lunch to discuss her new projects.  We stopped at a public space inside the Shochiku Square building in Ginza.  It was a large open space with staircase seating which goes largely unused and she was contemplating how to use it for performances or events.  It was so under-utilised that the space to have a long discussion about the intersection of science and art especially in relationship to notebooks/sketchbooks.  There maybe a possible opportunity in the middle of next year, but the project is still in its infancy.

On Sunday, I headed over to gallery TEN in Yanesen to see a group exhibition of mostly prints with some works on paper by 30 artists who participate in this annual exhibition “Perspectives for the Future” organised by Hiroshi Matsumura.  This has been an annual event for fifteen years now.  Each year, a keyword is chosen for the participating artists to work with – this year it was “Element”  Utako Shindo was part of this group exhibition so I stopped to see the exhibition and catch up and talk about the Philosophy of Perception exhibition.  The gallery space is in the heart of Yanesen and it was fantastic exhibition.  Here are some of my favourite works from the exhibition.

I purchased two prints from the exhibition and got to talking with Utako about the Philosophy of Perception workshop, her research activities as well as my recent projects, I had more ideas to think about.  She also gave a more formal introduction to Matsumura-san and I expressed an interest in participating in the next iteration.  He told me the keyword will be chosen next April and artist have until September to complete the work.  Matsumura-san also has a studio in western Tokyo where silkscreen can be done for the exhibition.  Participation includes two small exhibitions and boxed set of with one work from all the participating artists.  I am looking forward to hearing more.

After gallery TEN, I headed to the monthly Art Byte Critique meeting which had not been so monthly for almost six months.  Eight artists attended and we had very fruitful discussions about everyone’s work.  I had forgotten how inspiring and motivating it was to talk with other artists about their works and get feedback about my own work.  It is also a great place to share resources with each other.  I am looking forward to the next meeting at the beginning of December to see where everyone is!

New Works for Kojimachi Loves Arts! Summer Exhibition

Still trying to catch up with things, but here are images of new and recent works for the Kojimachi Loves Arts! Summer Exhibition, Part 1.  I will write more in the coming days about the works and exhibition.  In the meantime, the exhibition runs through August 22nd.

If you are in Tokyo and want to see these works in person, please come by Kojimachi Collection this week.  I will be in the gallery space every weeknight from 6:30 pm – 8 pm.  On the last day of the exhibition, I will at the gallery space from 1 – 7 pm (closing).  There will be artist talks by yukaotani, Josephine Vejrich, and myself from 2 – 3:30 pm.

You can find more information at

Corridors (After Bruce Nauman)

Screen Shot 2015-07-05 at 12.40.40 AM

I am returning to Akiyoshidai International Art Village next weekend to participate in 2015 AIAV Artist in Residence Fellow, Yuka Otani’s event “Nuit Blanche Akiyoshidai: One Night of Light, Moving Images, and More.”  I will be contributing a new digital video which I am currently in the process of finishing up.  The title of the piece is called “Corridors (After Bruce Nauman).

Here is a brief statement about the work I submitted for the event.

“During my AIAV Artist Residency Fellowship in December 2014, I became fascinated with the spaces between the seminar rooms at AIAV. Repeatedly walking the corridors, I found the experience claustrophic in the middle of the corridor and liberating at the ends walking towards natural and artificial light. “Corridors” (After Bruce Nauman) is made with those feelings in mind.”

The work has 74 frames which have been created from images that I took while traveling through the corridors between the AIAV seminar rooms on five separate occasions.  Each frame is a composite image for one particular walk through the corridor.  I created a formula for creating the composite images to give the sense of endlessly traveling through this space.

The title for the piece originates from my memory of Bruce Nauman’s work in which he created installations and videos with narrow corridors.  I wonder if that might be where my interest in Interstices also took hold.  Walking through one of his corridors opened up the possibilities of how art can make one aware of your own body and how one occupies space.

I have finished creating all the frames and I am going to put together the sequence of images tomorrow and optimize the transition between frames.  Here is a sneak peek at one of the frames.  I will try and post images from Nuit Blanche Akiyoshidai next weekend and will post the video online after it makes its premiere at AIAV.

Corridors 68


Studio Deanna

It’s been 5 years since the original idea of creating a wire crochet butterfly installation crossed my mind. Part of a brainstorming session with my friend Tracy in San Diego about the “Rites of Passage” theme for a festival the next year.

Thus began the crochet chapter of my life. A couple tips from Sarah and then a Saturday class with another friend, Aine, learning flower forms and I was off, stitching hundreds of flowers!

Support from more friends such as Rachel, Daryll, Amanda, Janet, Kelly, and Patti kept me going. Their great advice and never ending patience as I made my first baby steps into the art world.

Taking bigger steps with the Tokyo Art Byte Critique Group; more group shows as I honed my skills. Arthur, Lori, Ruri, Tanya, Dai, Lyle, Meg, et al Thank You!

Daytime, Evening, and Yokohama Stitchers; Merja, Eva, Nao, Robin, Wendy, Chandra…

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New York City – Day 2

My arrival and first night in New York City was an adventure that shall be shared at a later date.  This post is about my day of art on my first full day in New York City.  I headed up to the Upper East Side for my reading time of One Million Years as part of On Kawara’s retrospective.  Arriving a bit early, I headed over to Central Park to take some photos of the snow covered landscape. image I headed into the museum and checked in for my reading.  I signed a waiver form for permission to have my photo taken and my voice recorded during the reading for archival purposes.  I waited in the rotunda area until the female reader showed up so that we could be briefed on what we were to do during the reading.  While I waited, I browsed through the beautiful catalog of the retrospective.  The female reader showed up and she was a Guggenheim employee named Shama, who was spending her day off to participate in the reading. Mary briefed us on what we were to do for the reading.  I sat on the left facing into the rotunda while Shama sat on the right.  We would be reading from the One Million Years Past binder and I would be reading odd-numbered years while Shama read even-numbered years.  We started reading from about 808200 BC to the present.  We read the years into a microphone placed in front of us.  The readings were amplified through speakers inside the rotunda as well as speakers placed outside the museum so passerbys and entering visitors could hear the readings.

It was such an interesting experience alternating readings.  The concentration and focus that was required was more than I expected.  I found myself trying to stay focused and pronounce “eight hundred eight thousand, four hundred and ninety nine BC” without messing up.  The eight hundred eight/seven thousand portion was the most challenging part since the number started to play tricks on me.

It was also interesting to see how connected the readings between me and Shama were.  When things were going smoothly, it was like a regular rhythm.  When there was a change in my or her cadence or a pause, it would seem to affect the other person in a similar way.  The hour went by extremely quickly and I did not want it to end.

Here is one of the photographs from my reading I received from Shama.


After finishing the reading, I was told that there was a slot that opened up for this Friday at noon and I jumped on the chance to participate again.  Afterwards, I had to head to Grand Central to catch a train to visit DIA Beacon, so I asked to have my complimentary ticket moved until tomorrow.  I will spend a leisurely day poring and thinking about On Kawara’s work and how it influences my work and what my work might mean.

Next, I headed to out of the city to make a long awaited first visit to DIA Beacon.  My tablet is not being very cooperative for long text, so I will just say that it did not disappoint and I plan to make it a regular part of my New York City visits!  More soon.




osageの「FACTS on the surface」




植木葉月の「ふろ自動」(上) / 海野ひかりの作品 (下)










Things to be reading

It has been busy in the studio since the start of the New Year.  However, this doesn’t mean that I am not keeping tabs on articles that have crossed my path that I would like to read more closely and reflect upon.  Before the list starts getting too long to keep track of.  Here is what I have found so far in 2015.

William Deresiewicz writes about “The Death of the Artist – and the Birth of the Creative Entrepreneur” in The Atlantic

Stephen Batchelor contemplates “A Cosmos of Found Objects” in the New York Times.  Also, the essay adds another book to my reading list – David Batchelor’s (his brother) “The Luminous and the Grey”

Aimee Santos’ list of grant opportunities via Bay Area Art Grind

J.J. Charlesworth writes about how “The Ego-Centric Art World is Killing Art” over at artnet via Bay Area Art Grind

Also at artnet, Ben Davis puts together a list of “30 Art-Writing Cliches to Ditch in the New Year” via Bay Area Art Grind.  I will have to compare this list with my current artist statement.

An interview with the owners of Yellow Peril Space in Olneyville, Rhode Island by Erin Schwartz over at The Indy via Jessica Rosner

Day 11 at AIAV

I woke up this morning with the plan to print out all the layouts for the four artist books. I packed up my things and headed to the studio to drop off my laptop and transfer files to my hard drive. I also looked over the form for the Young Artists Book Fair and put together all the information that was required and sent that off. The only thing left to do before Christmas is to pick a five hour shift to be present at Kinokuniya during the course of the exhibition. Before heading down to the Art Director Room, I got a message from Morishita-san about going to the Hagi Uragami Museum in the afternoon. After a long day and night in the studio on Monday, I decided that venturing out would do me some good and happily said yes. With a couple hours before going out, I headed to the Art Director Room to print out the layouts. Handfeeding each sheet is a rather tedious process and I decided to make a sound recording of what I listened to for almost two hours. On the positive side, I experienced no problems with printing my images on various thicknesses of tracing paper. I can only wish that my printer at home would do the same thing. By all appearances, all the layouts looked good except for one images from the “Interstices and Bicycles” book that I improperly sized. Everything else looked good. I was particularly pleased with the “The Longest Road From Work” and “The Long Road To The Supermarket”. I think the sequentially increasing/decreasing size of the images works quite effectively in a book format. Satisfied with the morning process, I headed back to my room to drop off my stuff and wait for Morishita-san. We headed off from AIAV to Hagi which I thought I had never been to. She was describing the upcoming NHK drama involving the daughter of . The name did not ring a bell but as we passed a small service area and museum entering Hagi, I suddenly remembered that I had been here with Yuka Otani when I came to visit AIAV in March. I thought we headed back after visiting the museum, but the further we drove on, the more I remembered about my visit in March. It turns out Yuka and I went to visit a craftsman in Hagi that she was interested in. Afterwards we headed to a market in Hagi, I think. It was interesting to experience the memories coming back to me as we drove along. Definitely food for thought as I think about memory in my studio practice.

Back to the actual trip today, we stopped off at San Marco for a quick lunch before heading to the museum. At the Christmas party last week at Frank Café, the Suzuki Osamu exhibition at Hagi Uragami was raved about. I had gotten a flyer for the exhibition when I arrived, but I did not think much of it, but the raves piqued my curiosity. As it turns out, it was quite an amazing, interesting and thought provoking exhibition. I am not going to do justice to describing his exhibition, but I will share impressions. Here is a link to a review from the Japan Times from an earlier iteration of the exhibition. Some of his early works were he stamped numbers and kana characters onto ceramic forms struck me as quite contemporary. It was very interesting to see the progression of his work as he worked from these forms and functional forms into more abstract, yet figurative forms. He would create what he called “clay images” derived from nature, primarily living creatures, and capture what he saw as the essence of those forms. Some of the forms are easily recognizable from a distance, while other forms were difficult to discern until looking at the title. As I wandered through the exhibition, it became a puzzle of sorts. I would view the pieces from a distance trying to figure out what form was before looking at the title. The pieces themselves were absolutely beautiful. I admit to minimal knowledge about ceramics, but Osamu’s work resonated with me. It was fascinating for me because by looking at his work, you had a connection to your own perception of nature, but more importantly, you got a clear sense of Osamu’s process and how he perceived nature. It was like looking into the mind and understanding what he saw. It is something I have been striving for in my studio practice and yet am still so far from that. Here is an image of the 12 signs of the Chinese zodiac, although it does do his work justice. The exhibition had two sets of these pieces and based on the dates of the pieces, 1971 – 1994, it appears that he created one piece each year. Unfortunately, it turns out that this is the final stop of the exhibition.


After a comprehensive look at his exhibition, we saw a small exhibition by Aiko Miyanaga whose work looked very familiar. As it turns out, I had also seen her work at the Aichi Triennale 2010, like Misawa Atsuhiko.

Next, it was off to the new wing of the Hagi Uragami Museum which housed the fantastical and ominous work of Miwa Kyusetsu XII and and more traditional ceramics by Miwa Jusetsu XI. It was an interesting contrast in styles as you can see from the samples of images from both, top and bottom, respectively..


jyusetsu chawan.0

I picked up the Suzuki Osamu exhibition catalog as well as some postcards before we headed out. We walked from the museum into town to check out a small shop in the shotengai. En route to the shop, I took some pictures of Hagi Interstices which were relatively sparse.

Hagi Interstices 122314

We arrive at Tazz and were warmly created by Tamura-san. He invited us to visit the exhibition space in back filled with beautiful ceramic works that were sanded down to give a matte finish. There were many beautiful and affordable objects, but I settled on a beautiful coffee cup for Harumi as well a bunch of postcards made by Tamura-san.




We headed back to the car and made plans to visit Akiyoshidai and the Karst Plateau. Before then, Morishita-san was kind enough to make a stop at the supermarket so I could pick up a few things (mostly snacks) to tide me over for the rest of my stay at AIAV. And we were off the Akiyoshidai. I had an impression of the Akiyoshidai Plateau as being an elevated, but wide flat space. As it turns out, I was completely wrong. It is an enormous space with rolling hills and beautiful views. We pulled off at a viewing spot and I took some pictures.



I mentioned to her that I was interested in the open space that a couple artists had used in their work for the 2014 Trans Artist Residencies and as it turns out we were driving past so she was kind enough to stop and let me explore the space for a bit. We had arrived close to sunset so there were some fantastic views and colors to be had.




As it turns out, there are walking paths for people to traverse the area, but entering into the plateau outside of the paths seemed forbidden. This was disappointing but understandable. I have to rethink the idea of using the Akiyoshidai Plateau as a space perform my Memory Walks. I may return to the studio or use the AIAV courtyard. We headed back to AIAV where Nakano-san and Oota-san had come by my studio for a visit and were chatting with Fujisawa-san when we arrived back. I talked with them about the works that I have been making and showed off the multiple exposure feature on my RICOH camera. Nakano-san, and Oota-san made plans with me to have lunch in “Taiwan Village” on Friday. It seems that it is a small cluster of Taiwanese immigrants in this area. Exactly where, I am not sure, but I will let you know on Friday.

I came back to my room and made myself a hearty serving of pasta before going back to the studio to draw the last three days of Memory Walks. I started first by looking over the printouts I made in the morning and then cutting and folding them down to form. I made corrections on the one image from “Interstices and Bicycles” and will print that tomorrow morning. The two commuting artist book layouts were perfect as was the “Interstices and Bicycles” book sans the one image. I need to print the cover and explanation page for the “Interstices and Bicycles” book tomorrow. As it turns out the “Interstices and Vending Machine” accordion book pages looked good unfolded, but upon folding the first page to assemble a mock up, I realized that the pages were not properly printed out because the margins were not even. Unfortunately, I am out of 105 g/m2 tracing paper, but I will reprint the pages out on thinner stock and fold them to figure out the proper printer settings for my printer. I finished drawing the walks for the last three days and decided to come back to my room to write this and go to bed early.




It is not so early anymore – 11:30 pm. The days and nights at AIAV have been quite busy and the time seems to go way to fast. Tomorrow, I will spend the day in and around the studio until the evening when there will be a Christmas Eve nabe party in Mito.