Image Credit: Art Market Productions

SLATE contemporary  :  Booth 223
Fort Mason Center - Festival Pavilion, 2 Marina Blvd, San Francisco


Benefit Preview Reception
Benefiting the Fine Arts Museum of San Francisco
Aficionado Ticket ($150) / Connoisseur Ticket ($400)>
Wednesday April 27 | 6 - 9pm


Art Party
info@slateart.net
Thursday April 28 | 6 - 10pm

Public Hours

One-day pass, compliments of SLATE contemporary >
Friday April 29 | 11 - 7pm
Saturday April 30 | 11 - 7pm
Sunday May 1 | 12 - 6pm
 

 

Featuring Bay Area Artists...


Angela Johal 

Johal's geometric paintings are reflective of the formal aspects of mid-century California hard-edge painting and the excitement, interplay, and subtlety of color of the color field and Op art painters.

Johal writes, “I want my paintings to breathe using simple, geometric shapes that suggest the infinite, for them to be viscerally understood by all, and to explore formalism without sacrificing personal style.”
 

Maya Kabat 


Kabat's abstract oil paintings reference the urban landscape of Northern California, exploring relationships between architectural elements, California light, and the balance of color, line, plane, and space.

Inspired originally by Diebenkorn’s work, Kabat often works intensely on the edges of her canvases, incorporating the external form of the object into the internal dialogue of the piece.

 

Andrzej Karwacki

Karwacki draws his ideas from the philosophy of Buddhism and works with an intention of equanimity. His compositions are built up from many thin layers of paint and water, with the occasional addition of mixed media collage, which interact with one another in a dance which eventually combine intended and accidental qualities. To accentuate the color, Andrzej adds a resin finish to his work, and in so doing, both emphasizes the illusion of depth and the concrete nature of the art object. 
 

Lola 


Lola didn’t study art in school and sees her absence of classical training as an advantage to her creative process, marked by experiments with form, color, and medium. Over fifteen years ago, she was introduced to fiberglass resin, which led to her “affair” with epoxy resin.

The stacking of resin adds texture, vivid color, and depth to an otherwise two-dimensional surface. Working with resin is paradoxical because its fluidity rapidly transforms into solidity, therefore an emphasis on time is critical to her process.
 
 
Lucky Rapp’s unique resin work is the product of a rigorously-developed process that balances conceptual interest with materiality. Anchored in text and signage, Rapp’s work plays with ambiguity between the everyday world of manufactured signs, and the aura of a hand-made art object. Not unlike Jasper Johns’ targets, flags, and numbers series of the 1950s, Rapp is making visual art that signifies without using pictorial tools or representation. A dry humor runs through her work, giving it an ironic edge that is only amplified by their simple and straightforward presentation.