Gallery Blog

Artist + Curator Interviews, Event Photos, and News

Edith Lebeau's solo show When The Light Goes Out. Here, the Canadian artist opens up to us about what she calls her most personal work to date, soothing serious issues with serene pastel palettes and symbolic imagery. Below, she explains a thorough glimpse into her painting process as well as a list of current working artists whose faces you may notice in the series! Swing by the gallery soon to see the work up close. Read More
Sandra Yagi is a surrealist painter working out of her San Francisco studio to create highly informed works inspired by the dramatic realities of ecological dynamics. Here, Sandra has had the graciousness to share very thought-provoking statistics about modern wildlife and the human influence along with a glimpse into how she translates those discoveries into works of art. Read More
Emilio Villalba is a modern San Francisco based artist with an iconic painting style. His new series, Talk to Me features experimental portraiture rich in texture and distinctly muted palettes. Below, we were able to learn more about his investigative approach and the motives behind the work that he creates. Read More

Event photos from the opening reception of Crystal Morey's Delicate Dependencies and Emilio Villalba's Talk to Me on October 14, 2016. Thanks to everyone who made it out last Friday to celebrate, support, and take in all the incredible art by these two top Bay-Area contemporary artists. Both shows run through October 29 and can be viewed at the links above.

Crystal Morey at Modern Eden GalleryEmilio Villalba at Modern Eden GalleryEmilio Villalba at Modern Eden GalleryCrystal Morey at Modern Eden GalleryErika Sanada - Calvin Ma - Crystal Morey at Modern Eden GalleryModern Eden GalleryCrystal Morey at Modern Eden GalleryEmilio Villalba and Crystal Morey at Modern Eden GalleryEmilio Villalba at the opening reception at Modern EdenCrystal Morey Sculptures at Modern edenCrystal Morey at Modern Eden GalleryCrystal Morey at Modern Eden GalleryCrystal Morey at Modern Eden GalleryEmilio Villalba at Modern EdenWorks on view by Emilio VillalbaCrystal Morey and Emilio Villalba Opening Reception at Modern Eden Gallery, SFArt viewing with Emilio VillalbaCrystal Morey at Modern Eden GalleryLeilani and Jay BustamanteNew Works by Crystal Morey at Modern Eden GalleryCrystal Morey and crew at Modern Eden GalleryCrystal Morey and Emilio Villalba at Modern Eden GalleryCrystal Morey at Modern Eden GalleryCrystal Morey at Modern Eden GalleryMonty Guy at Modern Eden GalleryCrystal Morey at Modern Eden GalleryCrystal Morey at Modern Eden GalleryCrystal Morey at Modern Eden GalleryOpening Night at Modern Eden October 14Crystal Morey at Modern Eden GalleryPacked house at the galleryEmilio Villalba Talk to Me at Modern Eden GalleryModern Eden GalleryCrystal Morey at Modern Eden GalleryJessica Violetta at Modern EdenCrystal Morey at Modern Eden GalleryEmilio Villalba at Modern Eden GalleryEmilio Villalba New Works on view at Modern Eden SFCrystal Morey at Modern Eden GalleryOutside view at Modern Eden GalleryGallery view at the opening reception of Crystal Morey's Delicate DependenciesSide view, opening night at Modern Edenart watching with Emilio VillalbaCrystal Morey at Modern Eden GalleryCrystal Morey at Modern Eden GalleryEmilio VillalbaCrystal Morey at Modern Eden Gallery

Crystal Morey is an Oakland based sculptor with a pristine and evocative new series called "Delicate Dependencies" opening tomorrow at Modern Eden. We are delighted to have had the chance to gain a glimpse into her studio process and the enlightening depth behind the work that she creates. 

Interview by Jessica Violetta

JV: “Delicate Dependencies” is a new body of work for you, can you tell us where the ideas for these sculptures began? Tell us about the imagery you chose to include.

CM: In Delicate Dependencies, I wanted to create a dreamlike, captivating space; one filled with emotive hybrid creatures, here to warn us of our current trajectory toward environmental downfall. These figures are meant to show the sinuous connections between all living creatures, and the balance that must excites, in a healthy natural world.

I like to research animals that I find relatable in their actions and intriguing visually. In “Delicate Dependencies” I decided to focus on animals from the western United States, creatures that have an interesting history or trajectory, ones closely affected by human expansion.

I am interested in what we consider to be “fringe” or “indicator” species. These creatures are often the first indicators and casualties of environmental change, and are often found at both ends of the food chain – small creatures being susceptible to minute habitat changes and larger creatures affected by disruptions in a long food chain. These interests led me to include creatures such as a brown bear, red fox, peregrine falcon, mountain lion and California bighorn to name a few.

JV: There seems to be new, natural elements in your sculptures, can you tell us about the use of leaves and what they mean visually?

 

CM: The leaves are a completely new addition and one I am really fond of. I have been thinking about adaptation, natural evolution, and human driven environmental change and the addition of plant life into my work became the next step. Human and animal relationships have been very important in my work and thinking about the entire biosphere led me to this inclusion. I am interested in a chain of elements, of all living things being interconnected and dependent on each other for long-term viability.

I also find that the leaves speak to the delicacy and balance of our rapidly changing environment. They represent the inescapable cycle of growth, fullness and decent, a theme I am very interested in exploring.



JV: I love the phrase that you use when describing part of your influence as “human interdependence with the land and animals around us”. Is it possible for you to elaborate on how exactly this influences you?

CM: So much of what we see and hear about the state of our world is very upsetting. With humanitarian crises, natural habitat destruction, and wildlife devastation at the forefront, I think we can become desensitized, making us unable or unwilling to take in more information. For these reasons I choose a different method. I see “beauty” and “emotion” as having a power to reach people, to share a poignant, delicate and human moment. My hope is to create empathy for our environment and the creatures that live within it. I hope to stir a curiosity rooted in our relationship to plants and animals around us, and that we are here to share this planet together.



JV: You mention in your biography that you had an “alternative upbringing” and I can only assume that, by this, you are referring to being raised in the Sierra Nevada's, can you explain?

CM: Many of my inspirations and interests in the natural world stem from an alternative upbringing, one I closely connected to the landscape around me. For much of my early childhood we lived in unique dwellings without modern amenities such and electricity or pluming and chose not to indulge in television or mainstream radio. This lifestyle allowed for plenty of time to explore the forests, lakes and river canyons of the area, creating a strong relationship in the way I saw myself as a tiny component in vast sea of natural landscape.

As I have become older, with new life experiences, now living in an urban city, my perspective has changed and the world doesn’t feel as large, wild and free. Through living in an urban environment, manipulated and controlled by humans, the fragile quality of the natural world has become more apparent to me. I no longer see natural landscape as an expansive, never-ending space, I see it as a finite, irreplaceable space we must nurture and protect.

Nostalgia, memory and longing also play a distinct role in my work. I often find myself wishing I could return to the naïve child I was, engulfed in the magical wood, filled with imagination and wonderment, unburdened by the realities of today. And yet, I choose to live in the city of Oakland because I don’t want to ignore modern life. I want to be part of the art culture and environmental conversation about what is happening now, and how we as artists can use our voices to encourage ideas to change.



JV: About how long does is take for you to create one of your pieces? Is there a part to the process that you enjoy the most and/or least?

CM: I build all of my sculptures by hand, using porcelain clay. I start with a composition and gesture in my mind, I then visualize the piece with the emotion and thoughts I would like to convey. From there, I source photographic references for human and animal components to reference as I sculpt. I usually start by sculpting the legs, then move to the torso, the head and onto the arms and hands. Once all of the elements are in place, I then work up layers of detail. I love the intricate details like toes, horns feathers, fur, teeth, and the gestural composition I can create in the arms, hand and fingers. Porcelain is a very delicate material that takes time to set up and dry, this means I can often work on multiple pieces during the same time period. Once a piece has been sculpted, it must completely dry before being fired to roughly 2200° F in a ceramic kiln. From start to finish, including drying time, a piece can take about two months. Creating sculptures with porcelain can be very challenging, but I love the history associated with material and the delicacy and translucency I am able to achieve.



JV: Your current work is so gentle and provocative and we are so excited to see it in person. Any ideas of where your art will take you next?

CM: As a full time studio artist, I am continually trying to challenge myself with new projects. I find it important to deepen my interest, themes and concepts while also pushing my abilities. Through this new collection of work, I have enjoyed the new addition of trees, leaves, leading me to new adaptations of plant and animal. In the next year I hope to continue to expand on these ideas and can’t wait to see where I end up!

I really appreciate your time and interest in my work and I am so happy to share my thoughts and work with you! For more information, please visit my website at www.crystalmorey.com or follow my work on Instagram @cmorey! Thank you!

***

Delicate Dependencies is on display from October 14–29, 2016 at Modern Eden Gallery in San Francisco.

 

Tracy Lewis is another fantastic artist among many who are currently on display for the “Femme to Femme Fatale” Beautiful Bizarre group show this month. Known for her delicate yet evocative watercolors, Tracy’s art has understandably become highly sought after in galleries and the homes of her admirers. She graciously extends her knowledge to those interested via workshops in California, where she lives, as well as vacation destinations.

Interview by Jessica Violetta.

All images courtesy of the artist.

Tracy Lewis in studio

JV: Tracy, it is great to speak with you again and in a bit more depth than we could at the opening for “Verdant” where you had a lovely piece in the group show here. As you know, I am a huge admirer of the way you have mastered watercolor painting in all of its unforgiving nature. What originally drew you to working with this medium?
TL: Thank you Jessica! Yes, it can be a somewhat unforgiving medium, but that’s one of the things I love about it. The challenge to get it right the first time. I love the transparency and luminosity you can get with watercolors by letting the colors mingle on the paper and by using thin glazes and letting the light of the paper show through. 
I first fell in love with watercolor when I saw some of Jeannie Vodden’s paintings at a county fair. They were so rich in color, yet delicate and dreamy…I had never seen watercolors like that before and I was hooked! At the time I was china painting, and even though that medium is oil based and has to be fired in a kiln, the visual qualities are similar, so it felt like a natural progression for me. I was fortunate enough to take watercolor lessons with Jeannie and then studied with Gary Pruner at American River College in Sacramento. They are both amazingly talented and generous teachers and really gave me a solid foundation with watercolor. 

I also find watercolor to be very meditative and I love juxtaposing the soft colors with somewhat darker themes and intensity. It’s a wonderful contrast that continues to fascinate me.
Tracy Lewis Watercolor Process
JV: In your bio, you mention a tendency to portray “beautiful contemporary women that are intense and a little mysterious”. This is interestingly specific. Is there any depth behind choosing this specific characteristic? Perhaps a personal resonance? 
TL: It has always been so hard for me to describe my portraits. I think I’m figuring them out as keep painting them. There was never really been a message that I consciously tried to portray, but as I keep painting them I’m listening to what they're trying to tell me. I’ve always been drawn to an intense look, mystery and melancholy. I just love silent movies and how the actors had to say things without words, one piercing look said it all. 
I’ve noticed over time that my woman are in a kind of contradiction of disquiet and harmony, they long to draw you near, yet keep you at arms length. I feel like they are fierce protectors of and at oneness with nature.
 
I guess in a way they are all self portraits, not physically… most of them are actually my daughter, but what they are trying to say. The fragility of our environment and the innocent souls that are harmed every day with no regard is always heavy on my mind. At the same time there so much beauty and joy in the world that it is sometimes wonderfully overwhelming. I think my paintings convey some of that feeling.  
Tracy Lewis in Studio
JV: It seems there was a bit of a stylistic transition for you in which you dropped the heavy (ink?) outline you had been using and began working entirely in lovely watercolor. Was this intentional and/or what made you choose to do it?
TL: I’ve always enjoyed working in ink. In high school I did a ton of pen and ink copies of Mucha’s and other Art Nouveau illustration. It was fun and gave me a real feel for organic line. When I started painting in watercolor I mainly worked with it alone, but I could see that the two mediums would give me a lovely contrast of hard line and soft watercolor washes, so I’ve gone back and forth. I still like to work this way occasionally. Some ideas just seem like they where made for the pairing.
Tracy Lewis Original Artwork
JV: Watercolor paintings seem to typically be on the smaller side (than, say, oil paintings). What is the largest size painting you have ever made or sold? I have always thought it would be super cool to see your work in a large size!
TL: The largest watercolors I’ve done have been 22”x30”. That’s a standard full sheet of watercolor paper. I generally work smaller than that, about half that size or less. They do make larger sheets of watercolor paper and even huge rolls. Actually, you might see some larger work from me soon! I did a large floral commission the first of the year and it was fun, made me want to more that size or bigger.
Tracy Lewis Workshop
JV: It is fantastic that you have made workshops available to those interested in learning from you. Do you have any pointers you can share with us for watercolor beginners?
TL: I think the main thing is to get a feel for the medium before trying to create a finished product. Watercolor can be frustrating if you try too hard to control it. Learn what it wants to do and let it happen, then you can use it to it’s full advantage. Take classes or watch online tutorials, there are a ton of them out there. If you end up really enjoying working with watercolor do yourself a favor and get professional quality supplies. You don’t need a ton of colors, as they can be mixed, even just a few of the right pigments can give you a full range of color. Most of my paintings are a very limited palette. I get a lot of watercolor questions on my Instagram page, so I’m setting up a new page just for watercolor tips and mini tutorials ~ TracyLewisArtStudio. 
Tracy Lewis Watercolor Studio
JV: We are so glad to have you here again this month for the group show. Can you tell us a little about the piece you have on display and how you were inspired by the theme?
TL: I’m thrilled to be a part of such an amazing show and had a great time at the opening! The idea of “Femme to Femme Fatale” has been recurring theme for me and one that just fits so perfectly in my body of work. I wanted to portray with subtle symbolism a woman that is both of these contradicting natures. My painting “Omniscient” represents the quintessential female. She is a balance of the nurturing feminine and the seductive femme fatale. With her lush blossoms and impending thorns, attracting bees and ladybirds, she is self-reliant, yet nurtures community. She is secretive, intuitive and filled with eternal love.
***

 

Omniscient by Tracy Lewis

  • Watercolor 
  • 10.5 x 13.5 in.
  • © 2016

On view through October 8, 2016 at Modern Eden Gallery in San Francisco for Femme to Femme Fatale curated by beautiful.bizarre Magazine.

Glenn Arthur is one of many artists showing in the Beautiful Bizarre curated group show Femme to Femme Fatale here at Modern Eden Gallery this month. Collectors swoon over his sleek, intricate acrylic paintings of feminine beauty in stylistic twists. With a tremendous fan base and following, Glenn’s work speaks for itself. But we are curious to dig a little into the nature of his work ethic, freedom, and enjoyment after having arrived at this level of admiration and artistic success.

Interview by Jessica Violetta.

All images courtesy of the artist.

JV: I am personally a big fan and have enjoyed watching your work progress, always becoming more beautiful and refined. How does this growth resonate with you, if at all? Do you ever notice yourself experiencing drastic changes in your art and/or reflecting back on the progress you have made?

GA: Recognizing my own growth as an artist is a strange thing. I never notice it happening until I look back at my older work and see all of the differences compared with what I'm currently working on. I do constantly strive to improve my work so it's always nice to see that it has happened although I can never really pinpoint when it's happening. Of course, as an artist, I'm never satisfied with making just one type of art. I like to try my hand at several mediums which pushes my growth in different directions that I might not have thought about on my own. Surprise growth is just as welcome as intended growth!

JV: It also seems that artists like yourself are able to increasingly indulge in the aspects of the art-making that you personally enjoy, the more your fan base expands and support is received to literally watch you do….whatever it is that YOU enjoy to do! Is that a fair assumption or do you feel there is some freedom left to be desired?

GA: The fan base is always a factor for me when making my art, but not in the way that it dictates what I choose to make. I'm a multifaceted person with a lot of different interests so I'm always aware that some of the art I make will get a huge response and some will get a very small response. I know the true fans of my work understand that I love creating everything from surrealistic art to anime fan art to sketches of hummingbirds as silly characters. I've never felt stifled when it comes to creative freedom. If anything, the people who enjoy my work continually encourage me to try new things and I love that.

JV: Your work often infuses what you’ve referred to as your “signature” hummingbird. What is the story behind incorporating these pretty, playful birds?

GA: I always feel bad answering this question because I feel like people are expecting a deep response about some kind of personal symbolism that hummingbirds portray for me when in actuality, I just think they're super cool! I've been fascinated with them for as long as I can remember. They're such fast little birds though and out of sight in an instant, so putting them in my work is a way for me to keep them around longer. It's also just tons of fun to dress them up and give such tiny creatures a larger than life personality.

 JV: I think many people, including myself, truly enjoy looking at artwork that is primarily about beauty, femininity, tasty details, and the dedicated craftsmanship behind it. Have you ever felt pressure to deliver work with different subject matter and/or what would you say to aspiring artists who also desire to focus on beauty and craft like yourself?

GA: The art that I share publicly is the art that truly inspires and speaks to me aesthetically and emotionally. What a lot of people don't know is that I also do a lot of private illustration work which gives me the chance to explore a lot of art that I wouldn't normally make. Of course these illustrations look nothing like my personal style, and I don't share them publicly, so even if someone saw them they probably wouldn't know it was made by me. Being given opportunities to make so many different kinds of art really makes me appreciate my own personal style so I never really feel pressured to deliver anything different. The best advice I can give to any aspiring artist is to be prolific! I make some kind of art every single day. I may not share it all publicly, but a day never goes by without a pen, pencil or paintbrush in my hand.

JV: Again, just based on observation, the enjoyment you take in your work really seems to show. There are plenty of theories about the importance of artists being able to fully indulge in what they do and that coming through to the viewer. But you also claim to be a perfectionist and your discipline is evident too. Is there anything you can say about balancing these two dynamics in artmaking - pleasure and discipline?

GA: I have a saying that I always refer back to when it comes to discipline. "Practice makes proficient." Although I do consider myself a perfectionist, I know that perfection is an unrealistic goal. I'm also my own worst critic which renders perfection unattainable in my mind. So the next best thing is proficiency. To me, being proficient in something that brings me pleasure, so I guess the more I strive for it the more I enjoy it. I don't know, maybe that makes me some kind of masochist? I also have an undying fear that I'll forget how to make art if I ever stop which might factor into my strange views of pleasure and discipline.

JV: We are looking forward to having your solo show here at Modern Eden in May 2017! Have you begun to prep for this yet, even just in brainstorming or sketch phases? Give us hints of what to expect!

GA: I'm ridiculously excited for this show! I've recently become obsessed with growing succulents and cacti and I'm planning on painting a whole series inspired by these gorgeous plants! As with all of my work you can expect a touch of surrealism and whimsy and of course hummingbirds! I've already got a bunch of sketches and studies in the work and can't wait to get started on the full paintings!

JV: Lastly, I believe you are currently living and working out of northern California. How is this, in your opinion, compared to being in the LA area right now? (Clearly we are a bit biased…)

GA: I was born and raised in Southern California living most of my life in the Orange County area. I still love it down there, but at this stage in my life I really wanted to slow things down and enjoy more nature which the Bay Area is perfect for. I'm specifically in the East Bay which I have fallen in love with and it's great that San Francisco is only a short drive away so that I can get my fill of big city life when I need to.

***

Intertwined by Glenn Arthur

  • Acrylic on Wood 
  • 18 x 14 in.
  • © 2016

On view through October 8, 2016 at Modern Eden Gallery in San Francisco for Femme to Femme Fatale curated by beautiful.bizarre Magazine.

 (September 17, 2016)

This past Saturday, we rolled out the red carpet to welcome an international roster of artists and collectors for our latest exhibition, Femme to Femme Fatale curated by Editor in Chief of the Australian-based art publication, beautiful.bizarre Magazine, Danijela Krha. 

As soon as the doors opened, the gallery was buzzing with excitement. Artists delighted in meeting Krha while fans of participating artists were thrilled by a chance to chat with and see the artworks in person.

***

Femme to Femme Fatale is on view through October 8, 2016 at Modern Eden Gallery in San Francisco.

***

Red Carpet Fun:

Handiedan is a Dutch collage artist based in Amsterdam we are excited to have as part of our next group show Femme to Femme Fatale curated by Beautiful Bizarre. Her work impresses with its ability to exercise a refreshingly unique approach while maintaining a truly pleasing aesthetic regardless of how near or far we are to it. Intrigued by both the beauty and the process, we’ve had the opportunity to interview her for some elaboration.

Interview by Jessica Violetta

All images courtesy of the artist.



JV: It comes as no surprise that your work will be featured in a show with this title and theme. “Femme” seems to be a common theme within your work but so does “Femme Fatale”. Is there anything you could share with us about your choice to so often include a pinup style female (or more than one) in your work?

H: To me, I like how the sensual female form can symbolize both soft and strong, radiates both power and vulnerability. An origin of softness and growth, a purity, sexuality of beauty and decay. I like to use the classical pin-up because of the high cultural value and they exhibit a tasteful response to female sexuality. To use this as the basis of my work and translate/transcend them into a new aesthetic form surrounded within symbolism.

An extra aspect is when you look at a technical aspect. As an extra gift, when digital reproducing these magazines with a scanner: a graphic moiré pops up. It’s sort of a tiny graphic grid. I love it how this moiré works on the paintings and how it interacts with the pixelation of low resolution web images in my digital collages.


JV: The way you are able to entice a viewer into your artwork with such overall charm and then have us come to find that you have actually hand cut and carved the components with mastery, it feels to be a gift that keeps giving. Do you find similar satisfaction with this duality when creating the work?

H: I love the fast and intuitive way of designing and montaging in the computer. It gives unpredictable outcomes that surprise me. It sometimes feels like my unconscious is able to become conscious and appears right in front of me while I create my originals.

I love the timely part of my hand cut collages. It slows me down and lets me go deeper into the meaning of the piece and the process towards the final result.

I love to combine the autonomous techniques of hand cut collage with the modern possibilities of the digital collage techniques. It gives me a definite satisfaction to combine these two techniques, and to see how they complement each other both in the layering of the artwork and in meaning and technique.

JV: You have had the opportunity to show in various forms - from gigantic outdoor murals to small scale gallery works. Do you have a favourite experience so far?

H: My most favourite experience is the combination of both.
The quiet focus of working for months by myself in my studio creating art for a show.

The fast and energetic focus while creating a wheat past mural in one week, with a lot of direct interaction with your audience and the project team gives a lot of energy.

Either way of working gives a new and different energy and the possibility to re-focus. I think combining results for me as a good way to grow, learn and develop my art.

JV: As someone who collects vintage illustrations for the aged aesthetic but also seeks out modern art, I find your artwork to be like a successful hybrid between the two. Have you also been a connoisseur of materials like this before you began to use them to create original work?

H: The original work I’m creating today, is a direct result of what I always have done.
I always had a fascination of things that are aged or ‘have a story locked in time’.

For example, a little piece that fell off an old tree or dried flower, a trashed empty record sleeve or yellowed metro tickets. All to me little treasures.

I can however also see this in modern things that I think are different and raises curious, or that triggers a happy feeling. Like my vinyl toy and crystals and gems collection.

I like to gather things that have a story and it’s even more interesting to combine or compose them together. To see a surprisingly new and totally different story appear.

JV: Being in San Francisco, we know there are both differences and similarities about art and life in Amsterdam. Are you satisfied with the opportunities available for you where you are now and/or have you shown or traveled to other places that seem to welcome what you are doing even more?

H: With my art I mainly exhibit and do projects abroad. I’m very grateful that I am able to do what I love all over the world and meet all these different kind of people.

As a basis, I find Amsterdam a great city to live and to develop my art. A nice and open atmosphere to create. I think a lot of nice things are happening in Amsterdam. Especially the last few years, new galleries and projects full of new art energy popped up.

JV: Aside from the commonality of depicting the female form, are there any overarching themes or concepts that you typically have in mind when making your work?

H: My art works are a treasure trove of symbols and patterns scattered on and through the background. You can find meaning in the tattoos, in patterns of decorative symbolism and hidden meanings, with a focus on Quantum Physics, Metaphysics, Mythology, Sacred Geometries, Cosmology, Astronomy and Space and Time theories.

JV: Your mural in Berlin for Urban Nation is breathtaking. Can we look forward to you creating more large scale public work in the future?

H: Thank you.
After creating the mural in Berlin in 2014, I’ve created several large wheat paste murals for Wall Therapy in Rochester and one for RMP in Richmond this year. Sadly, because of harsh weather conditions these walls didn’t last.

There are plans in the make for a new large mural project in conjunction with my solo exhibition at Jonathan LeVine Gallery next year. Very excited about it!

***

Flos Vitae by Handiedan

  • Mixed Media Collage
  • In Antique Metal Table Stand
  • 24 x 30.5 cm. | 9.5 x 12 in. 
  • © 2016
  • 31 x 51 x 20 cm. | 12.25 x 20 x 7.75 in. (framed)

On exhibit for Femme to Femme Fatale from September 17 through October 8, 2016 at Modern Eden Gallery in San Francisco. Inquire for more info

The gallery began working with Danijela Krha and her team at beautiful.bizarre in 2014 as the publication entered its sixth issue. Introductions to Gallery Director Kim Larson were made, and a shared interest in advancing the same caliber and style of artwork was revealed. Over the last several years, the magazine has grown and expanded into nothing short of an international phenomenon. Now in it’s 14th issue, and with well over 600,000  followers combined across their social networks, they serve up a continuous and engaging stream of beautiful and surreal contemporary artwork, which as their name implies—oft trend toward the bizarre. Read More
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