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Marc D'Estout
Title: Topper
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*Note: A museum exhibition is planned for early 2025. Sale of this work is contingent on the availability for loan during that event.
ABOUT MARC
The work of Marc D’Estout engages subconscious surrealist imagery, social and cultural memes, and obscure formal connections. Formed in succinct visual dialogues, his minimalist sculptures and drawings often subtly reveal a dark humor or uncanny associations, addressing lurking fears, personal (mis)communication, social nuance, or pop humor.
D’Estout has a deep connection with materials and process, predominantly the challenging skills of hand shaping and fabricating sheet metal forms, which are then finished with carefully crafted surfaces. His style of metalsmithing or metal-shaping falls somewhere between the conventions of the fine art metalsmith and those of artisans who hand-form custom car bodies. His life-long love of automobiles is integral to his visual language and his studio practice, although there is a world of difference in objective and approach in his work. The application of D’Estout’s vision through these highly disciplined craft-based processes is unique in the context of contemporary art.
Materials:
Size:
Price:
*Note: A museum exhibition is planned for early 2025. Sale of this work is contingent on the availability for loan during that event.
ABOUT MARC
The work of Marc D’Estout engages subconscious surrealist imagery, social and cultural memes, and obscure formal connections. Formed in succinct visual dialogues, his minimalist sculptures and drawings often subtly reveal a dark humor or uncanny associations, addressing lurking fears, personal (mis)communication, social nuance, or pop humor.
D’Estout has a deep connection with materials and process, predominantly the challenging skills of hand shaping and fabricating sheet metal forms, which are then finished with carefully crafted surfaces. His style of metalsmithing or metal-shaping falls somewhere between the conventions of the fine art metalsmith and those of artisans who hand-form custom car bodies. His life-long love of automobiles is integral to his visual language and his studio practice, although there is a world of difference in objective and approach in his work. The application of D’Estout’s vision through these highly disciplined craft-based processes is unique in the context of contemporary art.
Anne Mo
Tim Craighead
Rydell Recipient 2019
Title: Cypher #12
Materials: mixed media on Larroque paper
Size: 22" x 18"
Price: $2,100
ARTIST STATEMENT
Although my work is often categorized as abstract, I see it as inhabiting a space between objective and nonobjective painting. The combination of these two worlds, serve as a matrix for what are essentially autobiographical works. I am interested in the symbolic potential of the objective world and the possibilities abstraction presents in suggesting the unknown. My influences range from second-generation abstract expressionism to forms found in nature to structural drawings by Frei Otto and Buckminster Fuller.
In some way, the intellect can analyze the work, but ultimately, when the paintings are working, it is hard to explain the how and the why. It is easy to make a formal analysis of the work and to position it in the great and diverse continuum of contemporary painting. Yet, it is my belief that the painting must do its work from a more subversive place, a place familiar yet enigmatic, known but unknown. It is this place that the paintings attempt to inhabit.
MORE ABOUT TIM
Tim Craighead received his B.A. in Printmaking and Sculpture from the University of California at Santa Cruz, CA, and his M.F.A. from Columbia University, New York, NY. He returned to Columbia as a Post Graduate Fellow. He has been the recipient of the Rydell Visual Arts Fellowship and the Artist in Residence at The Print Center at the San Jose Institute of Contemporary Art, San Jose, CA. Tim Craighead resides in Santa Cruz, CA.
Title: Cypher #12
Materials: mixed media on Larroque paper
Size: 22" x 18"
Price: $2,100
ARTIST STATEMENT
Although my work is often categorized as abstract, I see it as inhabiting a space between objective and nonobjective painting. The combination of these two worlds, serve as a matrix for what are essentially autobiographical works. I am interested in the symbolic potential of the objective world and the possibilities abstraction presents in suggesting the unknown. My influences range from second-generation abstract expressionism to forms found in nature to structural drawings by Frei Otto and Buckminster Fuller.
In some way, the intellect can analyze the work, but ultimately, when the paintings are working, it is hard to explain the how and the why. It is easy to make a formal analysis of the work and to position it in the great and diverse continuum of contemporary painting. Yet, it is my belief that the painting must do its work from a more subversive place, a place familiar yet enigmatic, known but unknown. It is this place that the paintings attempt to inhabit.
MORE ABOUT TIM
Tim Craighead received his B.A. in Printmaking and Sculpture from the University of California at Santa Cruz, CA, and his M.F.A. from Columbia University, New York, NY. He returned to Columbia as a Post Graduate Fellow. He has been the recipient of the Rydell Visual Arts Fellowship and the Artist in Residence at The Print Center at the San Jose Institute of Contemporary Art, San Jose, CA. Tim Craighead resides in Santa Cruz, CA.
Linda Craighead
Title: On the River
Materials:
Size: 22 x 15
Price:
Materials:
Size: 22 x 15
Price:
Terri Garland
Rydell Recipient 2008
Title: Embellishments, George Santos
Materials: archival pigment Size: 20.5" x 15.5" print, 29" x 23" framed
Price: $3,500
ABOUT TERRI
Terri Garland is an artist who specializes in photographing the social and cultural fabric of the American South. While not limiting herself to any particular genre, she finds that her most enduring projects have fit solidly into the documentary tradition.
As a graduate student at the San Francisco Art Institute, Garland began an examination of white supremacist culture that has spanned over two decades, photographing individuals within the Ku Klux Klan, Aryan Nations, American Nazi Party and the Christian Identity Movement.
For many years, Garland traveled repeatedly to Mexico to photograph endangered sea turtles and the efforts being waged for their conservation.
Since 2005, Garland has divided her time between Louisiana and Mississippi. Her most recent project, Louisiana, Purchased, examines the ways in which we depend upon and demand, continuous supplies of fossil fuels and the resulting damage and continuing destruction to coastal communities in Louisiana.
Garland received her BFA from the San Francisco Art Institute in 1987 and her MFA in 1990. She currently teaches photography at San Jose City College.
Her photographs are included in the collections of The Center for Creative Photography in Tucson, AZ, The Art Institute of Chicago, The di Rosa Preserve in Napa, CA, The Cleveland Museum of Art, Saint Elizabeth College, Morristown, NJ, Bibliotech Nationale, Paris and Special Collections at the University of California at Santa Cruz.
Among her awards are a WESTAF/NEA Fellowship, Silicon Valley Arts Council Grant and a Rydell Visual Arts Fellowship.
Title: Embellishments, George Santos
Materials: archival pigment Size: 20.5" x 15.5" print, 29" x 23" framed
Price: $3,500
ABOUT TERRI
Terri Garland is an artist who specializes in photographing the social and cultural fabric of the American South. While not limiting herself to any particular genre, she finds that her most enduring projects have fit solidly into the documentary tradition.
As a graduate student at the San Francisco Art Institute, Garland began an examination of white supremacist culture that has spanned over two decades, photographing individuals within the Ku Klux Klan, Aryan Nations, American Nazi Party and the Christian Identity Movement.
For many years, Garland traveled repeatedly to Mexico to photograph endangered sea turtles and the efforts being waged for their conservation.
Since 2005, Garland has divided her time between Louisiana and Mississippi. Her most recent project, Louisiana, Purchased, examines the ways in which we depend upon and demand, continuous supplies of fossil fuels and the resulting damage and continuing destruction to coastal communities in Louisiana.
Garland received her BFA from the San Francisco Art Institute in 1987 and her MFA in 1990. She currently teaches photography at San Jose City College.
Her photographs are included in the collections of The Center for Creative Photography in Tucson, AZ, The Art Institute of Chicago, The di Rosa Preserve in Napa, CA, The Cleveland Museum of Art, Saint Elizabeth College, Morristown, NJ, Bibliotech Nationale, Paris and Special Collections at the University of California at Santa Cruz.
Among her awards are a WESTAF/NEA Fellowship, Silicon Valley Arts Council Grant and a Rydell Visual Arts Fellowship.
Robin Kandel
Rydell Recipient 2018
Title: Lakewater 2, #10
Materials: oil on wood panel
Size: 72" x 60"
Price: $18,000
ARTIST STATEMENT
My work is a visual record of repetitive tasks, measures, equations, and self-imposed limitations. I use simple methods and might choose materials that reflect a subject. For example, drawing with an ordinary #2 pencil is my nod to childhood. The latest work is about road trips, road maps, distance, etch-a-sketches, the 45th parallel, landmarks, midpoints, and Mr Irving’s geography class.
MORE ABOUT ROBIN
Born in Detroit, Michigan, I now live in Santa Cruz, California. I’ve exhibited at colleges, universities, non-profit institutions, museums, and commercial galleries in, among other places, San Francisco Bay Area, San Jose, Los Angeles, Tokyo, and the Czech Republic. My work has been reviewed by Kenneth Baker, Leah Ollman, Peter Frank, David Roth, Joanna Szupinska, and others. It’s in private, corporate and public collections including The San Jose Museum of Art, The Crocker Museum, Santa Clara Medical Center, and Neiman Marcus. I was the recipient of The Pollock-Krasner Foundation grant, a nominee for the FID prize, and a three time nominee shortlisted for The Rydell Fellowship.
Title: Lakewater 2, #10
Materials: oil on wood panel
Size: 72" x 60"
Price: $18,000
ARTIST STATEMENT
My work is a visual record of repetitive tasks, measures, equations, and self-imposed limitations. I use simple methods and might choose materials that reflect a subject. For example, drawing with an ordinary #2 pencil is my nod to childhood. The latest work is about road trips, road maps, distance, etch-a-sketches, the 45th parallel, landmarks, midpoints, and Mr Irving’s geography class.
MORE ABOUT ROBIN
Born in Detroit, Michigan, I now live in Santa Cruz, California. I’ve exhibited at colleges, universities, non-profit institutions, museums, and commercial galleries in, among other places, San Francisco Bay Area, San Jose, Los Angeles, Tokyo, and the Czech Republic. My work has been reviewed by Kenneth Baker, Leah Ollman, Peter Frank, David Roth, Joanna Szupinska, and others. It’s in private, corporate and public collections including The San Jose Museum of Art, The Crocker Museum, Santa Clara Medical Center, and Neiman Marcus. I was the recipient of The Pollock-Krasner Foundation grant, a nominee for the FID prize, and a three time nominee shortlisted for The Rydell Fellowship.
Ian Everard
Rydell Recipient 2013
Title: Frequency List
Materials: Watercolor (right), found book (left)
Size: 12.25" x 15.25" (outside dimensions)
Price: $2,500
ARTIST STATEMENT
In this selection of pieces, found books are placed, often within the frame, next to their painted image. The medium I use is usually watercolor. The books were acquired from used bookstores, yard sales, flea markets and such. Their titles range from lurid romance, sensational sociology, to photographic processes, maritime themes and the hypnotic image. These books are all from another time, yet they remain of interest in this time, as they continue to circulate, year after year, long after their publication date and long since their intended purpose has lapsed. The original pictures were manufactured swiftly but I work for many hours to faithfully copy them, right down to each accident - a crease, smudge or tear. The paintings are not always finished but I consider them complete. The painted representation, juxtaposed with the physical object, and often presented in immersive installations, sets the stage for enquiry. For me, the work of copying is an act of thinking, a way of raising questions and, in a sense, interrogating both the object and the subject.
Title: Frequency List
Materials: Watercolor (right), found book (left)
Size: 12.25" x 15.25" (outside dimensions)
Price: $2,500
ARTIST STATEMENT
In this selection of pieces, found books are placed, often within the frame, next to their painted image. The medium I use is usually watercolor. The books were acquired from used bookstores, yard sales, flea markets and such. Their titles range from lurid romance, sensational sociology, to photographic processes, maritime themes and the hypnotic image. These books are all from another time, yet they remain of interest in this time, as they continue to circulate, year after year, long after their publication date and long since their intended purpose has lapsed. The original pictures were manufactured swiftly but I work for many hours to faithfully copy them, right down to each accident - a crease, smudge or tear. The paintings are not always finished but I consider them complete. The painted representation, juxtaposed with the physical object, and often presented in immersive installations, sets the stage for enquiry. For me, the work of copying is an act of thinking, a way of raising questions and, in a sense, interrogating both the object and the subject.
2007
Hanna Hannah
Title: Amerli, Iraq. Site of a Suicide Bomb ll Medium: mixed mediums on papers
Size: 30" x 22”
$8,500
ABOUT HANNAH
Hanna Hannah has exhibited since the late 1970s, and her solo exhibits include the Schmidt/Dean Gallery in Philadelphia; Braunstein Gallery, San Francisco; and Miami University Art Museum, Ohio. Hannah’s group shows include the Palo Alto Art Center History’s Mirror; éf Gallery, Tokyo, Collapsing Histories; Geoffrey Young Gallery in Great Barrington, Massachusetts, For the Birds; Philadelphia Art Alliance, Articles of Faith; and Las Vegas Art Museum, Works on Paper.
Hannah’s work can be found in collections at the Miami University Museum, Oxford, OH; Museum of Art and History, Santa Cruz; and the Palace of the Legion of Honor (Achenbach Foundation), San Francisco. Her art has been covered in various publications, including Artforum magazine, the Philadelphia Inquirer, San Francisco Chronicle, San Francisco Examiner, Oakland Tribune, and Artweek.
Hannah has an M.A. in French Studies from Tufts University, and an M.F.A. from the San Francisco Art Institute. She was born in El Salvador, where her parents had emigrated from Germany during the rise of National Socialism. At age 11, she emigrated with her family to the United States. She currently resides in Santa Cruz, California.
Hanna Hannah
Title: Amerli, Iraq. Site of a Suicide Bomb ll Medium: mixed mediums on papers
Size: 30" x 22”
$8,500
ABOUT HANNAH
Hanna Hannah has exhibited since the late 1970s, and her solo exhibits include the Schmidt/Dean Gallery in Philadelphia; Braunstein Gallery, San Francisco; and Miami University Art Museum, Ohio. Hannah’s group shows include the Palo Alto Art Center History’s Mirror; éf Gallery, Tokyo, Collapsing Histories; Geoffrey Young Gallery in Great Barrington, Massachusetts, For the Birds; Philadelphia Art Alliance, Articles of Faith; and Las Vegas Art Museum, Works on Paper.
Hannah’s work can be found in collections at the Miami University Museum, Oxford, OH; Museum of Art and History, Santa Cruz; and the Palace of the Legion of Honor (Achenbach Foundation), San Francisco. Her art has been covered in various publications, including Artforum magazine, the Philadelphia Inquirer, San Francisco Chronicle, San Francisco Examiner, Oakland Tribune, and Artweek.
Hannah has an M.A. in French Studies from Tufts University, and an M.F.A. from the San Francisco Art Institute. She was born in El Salvador, where her parents had emigrated from Germany during the rise of National Socialism. At age 11, she emigrated with her family to the United States. She currently resides in Santa Cruz, California.
Rob Larson
Rydell Recipient 2006
Title: Blue Moon Honey
Materials: Discarded cigarette packaging, found paper, acrylic on canvas
Size: 38.5" x 34.5"
Price: $8,400
ARTIST STATEMENT
Walking through cities collecting discarded materials is the fundamental process behind my work. I glean pigment from the urban landscape in search of color and texture—artifacts rich in time, history and experience. The resulting accumulation of post-consumer packaging records myriad human activities—a telling mix of pleasures, habits and addictions, including my own obsessive scavenging and appropriating.
It is after these items have been discarded that an exciting transformation begins. Their once identical and uniform surfaces begin to fade and abrade with exposure to the elements—turning them from homogeneity into infinite variety. From this collision of man-made materials and the forces of nature a dynamic palette of weathered hues, tones and textures is inadvertently created.
My work, while full of topical documentary evidence, explores most singularly the power of transformation—physically and perceptually. Initially the compositions appear to reside comfortably within the hermetic, self-referential tradition of minimalist abstraction. But upon discovering the true nature of the source material a tension is revealed between transcending inherent content and examining the nuanced relationships between the urban landscape, consumerism and cultural identity.
Title: Blue Moon Honey
Materials: Discarded cigarette packaging, found paper, acrylic on canvas
Size: 38.5" x 34.5"
Price: $8,400
ARTIST STATEMENT
Walking through cities collecting discarded materials is the fundamental process behind my work. I glean pigment from the urban landscape in search of color and texture—artifacts rich in time, history and experience. The resulting accumulation of post-consumer packaging records myriad human activities—a telling mix of pleasures, habits and addictions, including my own obsessive scavenging and appropriating.
It is after these items have been discarded that an exciting transformation begins. Their once identical and uniform surfaces begin to fade and abrade with exposure to the elements—turning them from homogeneity into infinite variety. From this collision of man-made materials and the forces of nature a dynamic palette of weathered hues, tones and textures is inadvertently created.
My work, while full of topical documentary evidence, explores most singularly the power of transformation—physically and perceptually. Initially the compositions appear to reside comfortably within the hermetic, self-referential tradition of minimalist abstraction. But upon discovering the true nature of the source material a tension is revealed between transcending inherent content and examining the nuanced relationships between the urban landscape, consumerism and cultural identity.
Rocky Lewycky
Rydell Recipient 2013
Title: Liminal Objects
Materials: Ceramics, eggshells, salt, seaweed, colored mica, oil, automotive paint, and plexiglass
Size: 12" x 6" x 6"
Price: $1,200
ARTIST STATEMENT
My artwork is continuously shedding its skin, morphing through new mediums that convey ideas of time and transformation. Process is often a key entry point into my artistic expression, as demonstrated by mark making and repetition of form. Another element of my work is rooted in social advocacy. I am allured by the idea of the progressive existential hero whose paradigm is not limited by the current societal climate. Influences such as Eckhart Tolle, Rudolf Steiner, Joseph Beuys, and Wolfgang Laib permeate my art, as well as inspire the development of my own instruments of consciousness. With the appreciation, placement and necessity of art in present-day culture, I believe my work in deconstructing social barriers has the validity and strength to elicit insights into a more cohesive humanity.
MORE ABOUR ROCKY
Rocky Lewycky, born 1977 in the San Francisco Bay Area, is a contemporary artist living and working in Santa Cruz, California. His resume includes teaching positions at the University of South Carolina, Institute of American Indian Arts (I.A.I.A.), the Santa Fe Community College, Foothill College, Monterey Peninsula College, and De Anza College where he is currently head of ceramics. Rocky has been featured in museum shows, as well as gallery exhibits of contemporary sculpture, installation and performance throughout the country. Rocky was recognized by the Santa Fean magazine as ”One of the top five artists to watch in New Mexico,” and “Top Talent from emerging to established and our region’s most influential talent of all time,” in 2007 and 2008, respectively. Rocky was chosen by Jo Lauria of the American Craft Council to install a ceramic art piece at the Eastern State Penitentiary for the 2010 Philadelphia NCECA conference. He was also honored with a $20,000 award from the Santa Cruz Rydel Visual Arts Fund of 2012/2013. In 2019, he founded Rockford Gallery Contemporary Ceramics in Boulder Creek, California. In his first summer at the space Rocky exhibited three of his most recent bodies of work.
Title: Liminal Objects
Materials: Ceramics, eggshells, salt, seaweed, colored mica, oil, automotive paint, and plexiglass
Size: 12" x 6" x 6"
Price: $1,200
ARTIST STATEMENT
My artwork is continuously shedding its skin, morphing through new mediums that convey ideas of time and transformation. Process is often a key entry point into my artistic expression, as demonstrated by mark making and repetition of form. Another element of my work is rooted in social advocacy. I am allured by the idea of the progressive existential hero whose paradigm is not limited by the current societal climate. Influences such as Eckhart Tolle, Rudolf Steiner, Joseph Beuys, and Wolfgang Laib permeate my art, as well as inspire the development of my own instruments of consciousness. With the appreciation, placement and necessity of art in present-day culture, I believe my work in deconstructing social barriers has the validity and strength to elicit insights into a more cohesive humanity.
MORE ABOUR ROCKY
Rocky Lewycky, born 1977 in the San Francisco Bay Area, is a contemporary artist living and working in Santa Cruz, California. His resume includes teaching positions at the University of South Carolina, Institute of American Indian Arts (I.A.I.A.), the Santa Fe Community College, Foothill College, Monterey Peninsula College, and De Anza College where he is currently head of ceramics. Rocky has been featured in museum shows, as well as gallery exhibits of contemporary sculpture, installation and performance throughout the country. Rocky was recognized by the Santa Fean magazine as ”One of the top five artists to watch in New Mexico,” and “Top Talent from emerging to established and our region’s most influential talent of all time,” in 2007 and 2008, respectively. Rocky was chosen by Jo Lauria of the American Craft Council to install a ceramic art piece at the Eastern State Penitentiary for the 2010 Philadelphia NCECA conference. He was also honored with a $20,000 award from the Santa Cruz Rydel Visual Arts Fund of 2012/2013. In 2019, he founded Rockford Gallery Contemporary Ceramics in Boulder Creek, California. In his first summer at the space Rocky exhibited three of his most recent bodies of work.
Will Marino
Rydell Recipient 2006
Title: Shadow (Fig Tree)
Materials: wound and folded paper dartboard
Size: 38" x 49" x 2.5"
Price: $14,000
ARTIST STATEMENT
Paper dartboards make up the bulk of the raw material I use in my work. I extract rings of wound paper and pull them apart until I get to the outer edge of the board. The rings of wound paper are then unwound into long strips of paper. All that’s remaining of the dartboard’s color and pattern is on the edge of these long strips of paper.
As I rewind the paper strips, new patterns emerge, intricate spirals and concentric circles replace the dark and light wedges, numbers and text that used to be a dartboard. I work the rewound strips into different shapes and combine them with long sections of fragmented text or pattern to create images that reference the dynamic nature of the world around us.
Title: Shadow (Fig Tree)
Materials: wound and folded paper dartboard
Size: 38" x 49" x 2.5"
Price: $14,000
ARTIST STATEMENT
Paper dartboards make up the bulk of the raw material I use in my work. I extract rings of wound paper and pull them apart until I get to the outer edge of the board. The rings of wound paper are then unwound into long strips of paper. All that’s remaining of the dartboard’s color and pattern is on the edge of these long strips of paper.
As I rewind the paper strips, new patterns emerge, intricate spirals and concentric circles replace the dark and light wedges, numbers and text that used to be a dartboard. I work the rewound strips into different shapes and combine them with long sections of fragmented text or pattern to create images that reference the dynamic nature of the world around us.
Victoria May
Rydell Recipient 2012
Title: Metamorphosis
Medium: cyanotype and ink on organza, aluminum printing plates, on wood
Size: 28" x 18"
Price: $2,200
ARTIST STATEMENT
From tent cities to opulent palaces, I am alternately touched and outraged—yet all the while fascinated—by human invention. For all our attempts at sophistication and control, there is the inevitable random or abject element; the fly in the typewriter. My constructions, ranging from installations to wall works, examine this interaction through jarring juxtapositions of ordinary materials. In using recognizable (and surprising) detritus and surplus from everyday life, these junctures stand as metaphors for the contradictions we witness daily. Obstinate concrete molds itself into voluptuous curves formed by seams in thin organza. The refined shimmer of silk and brocade takes on the quality of innards as it issues forth from industrially stitched rubber. I often rely on raw materials and found objects to function as would text or imagery, allowing the history, function, metaphorical value and/or sensibility of each element to contribute to the work’s intent, along with my own investment of labor. My process of creation blends intent with accident. Through both humorously crude and painstakingly delicate handwork, I welcome the random element that exposes the absurdity, beauty, and vulnerability in our well-intended machinations.
Title: Metamorphosis
Medium: cyanotype and ink on organza, aluminum printing plates, on wood
Size: 28" x 18"
Price: $2,200
ARTIST STATEMENT
From tent cities to opulent palaces, I am alternately touched and outraged—yet all the while fascinated—by human invention. For all our attempts at sophistication and control, there is the inevitable random or abject element; the fly in the typewriter. My constructions, ranging from installations to wall works, examine this interaction through jarring juxtapositions of ordinary materials. In using recognizable (and surprising) detritus and surplus from everyday life, these junctures stand as metaphors for the contradictions we witness daily. Obstinate concrete molds itself into voluptuous curves formed by seams in thin organza. The refined shimmer of silk and brocade takes on the quality of innards as it issues forth from industrially stitched rubber. I often rely on raw materials and found objects to function as would text or imagery, allowing the history, function, metaphorical value and/or sensibility of each element to contribute to the work’s intent, along with my own investment of labor. My process of creation blends intent with accident. Through both humorously crude and painstakingly delicate handwork, I welcome the random element that exposes the absurdity, beauty, and vulnerability in our well-intended machinations.
Edward Ramirez
Rydell Recipient 2020
Title: Eliterio
Medium: reduction relief print, 9 colors / 7 layers
Size: 21" x 27"
Price: $500 (framed), $225 (print only)
ARTIST STATEMENT
As an artist, one of my main goals is to raise awareness to social occurrences that I view are controversial within our society. I utilize the medium of photography, printmaking and my sociological imagination in order to produce work that not only addresses certain issues I view as provocative within our world but also provides sociological data that can help address and come to a conclusion on certain matters. Monochromatic film photography is key for my artistic process because I believe that the use of black and white allows individuals to focus on the content and message being presented. The incorporation of printmaking is also essential because it allows me to be more involved physically with the work I am producing. I enjoy creating interdisciplinary work on the grounds that it allows me to convey a message to my audience that is both mentally stimulating and compelling in addition to it being aesthetically pleasing.
MORE ABOUT EDWARD
Born and raised in South Los Angeles to a working-class Salvadoran family, Edward's early experiences and his family’s work ethic shaped and influenced his work and his commitment to social justice and equality. His work has been exhibited at the Santa Cruz Museum of Art and History, and the Sesnon Gallery, and at the Watsonville Public Library, where he displayed his large-scale, site-specific work on its exterior walls. A double major at UC Santa Cruz, Ramirez earned a bachelor’s degree in both Fine Arts and Sociology. Since 2016, he has served as a board member of the Santa Cruz Art League.
Title: Eliterio
Medium: reduction relief print, 9 colors / 7 layers
Size: 21" x 27"
Price: $500 (framed), $225 (print only)
ARTIST STATEMENT
As an artist, one of my main goals is to raise awareness to social occurrences that I view are controversial within our society. I utilize the medium of photography, printmaking and my sociological imagination in order to produce work that not only addresses certain issues I view as provocative within our world but also provides sociological data that can help address and come to a conclusion on certain matters. Monochromatic film photography is key for my artistic process because I believe that the use of black and white allows individuals to focus on the content and message being presented. The incorporation of printmaking is also essential because it allows me to be more involved physically with the work I am producing. I enjoy creating interdisciplinary work on the grounds that it allows me to convey a message to my audience that is both mentally stimulating and compelling in addition to it being aesthetically pleasing.
MORE ABOUT EDWARD
Born and raised in South Los Angeles to a working-class Salvadoran family, Edward's early experiences and his family’s work ethic shaped and influenced his work and his commitment to social justice and equality. His work has been exhibited at the Santa Cruz Museum of Art and History, and the Sesnon Gallery, and at the Watsonville Public Library, where he displayed his large-scale, site-specific work on its exterior walls. A double major at UC Santa Cruz, Ramirez earned a bachelor’s degree in both Fine Arts and Sociology. Since 2016, he has served as a board member of the Santa Cruz Art League.
Beverly Rayner
Rydell Recipient 2007
Title: Memory Encapsulation Network #3
Materials: Photographs, rubber bulbs, rubberized rope, lenses, latex tubing, metal
Size: 49” x 16” x 8”
Price: $4,500
ARTIST STATEMENT
What propels my work is a fascination with the everyday workings of human nature. I am drawn to the interplay between the alternately humorous and dark corners of human experience, the uncertain moments when the logical and the inexplicable tease each other or where the borders between fact and fiction blur. I am interested in how personal and social perspectives color our perceptions and imprint the psychological quirks that lurk within our minds. My work investigates the challenges we face in our relationships to one another, our efforts to negotiate with nature through science and technology, the ways in which we construct our individual realities, and our attempts set up systems to navigate life in this world.
My mixed media constructions are often built around photographic imagery and take on a wide variety of formats, often sculptural. I freely use any type of photographic process that serves my purpose for each piece, including my own traditional black and white photographs, tintypes, daguerreotypes, alternative processes, or digital images, as well as found photographs and negatives, even x-rays. I frequently alter or physically manipulate the images through painting, peeling, cutting, embedding in wax, etc. My use of other materials (both cast-off and new) is even more diverse, including wood, metal, lenses, paper, beeswax, and a vast array of objects. The images are integrated into some combination of these materials, a process that culminates in the formulation of singular, hybrid image-objects.
Title: Memory Encapsulation Network #3
Materials: Photographs, rubber bulbs, rubberized rope, lenses, latex tubing, metal
Size: 49” x 16” x 8”
Price: $4,500
ARTIST STATEMENT
What propels my work is a fascination with the everyday workings of human nature. I am drawn to the interplay between the alternately humorous and dark corners of human experience, the uncertain moments when the logical and the inexplicable tease each other or where the borders between fact and fiction blur. I am interested in how personal and social perspectives color our perceptions and imprint the psychological quirks that lurk within our minds. My work investigates the challenges we face in our relationships to one another, our efforts to negotiate with nature through science and technology, the ways in which we construct our individual realities, and our attempts set up systems to navigate life in this world.
My mixed media constructions are often built around photographic imagery and take on a wide variety of formats, often sculptural. I freely use any type of photographic process that serves my purpose for each piece, including my own traditional black and white photographs, tintypes, daguerreotypes, alternative processes, or digital images, as well as found photographs and negatives, even x-rays. I frequently alter or physically manipulate the images through painting, peeling, cutting, embedding in wax, etc. My use of other materials (both cast-off and new) is even more diverse, including wood, metal, lenses, paper, beeswax, and a vast array of objects. The images are integrated into some combination of these materials, a process that culminates in the formulation of singular, hybrid image-objects.
Felicia Rice
Rydell Recipient 2009
Title: Heavy Lifting
Materials: Letterpress and relief printing on paper
Size: 10ʺ x 14.5ʺ x variable
(two nested accordion-fold panels: panel 1 “Birds”: 10ʺ x 14.5ʺ x 80ʺ and panel 2 “Crises”: 10ʺ x
12.5ʺ x 100ʺ
Price: $2,700
ABOUT FELICIA
Felicia Rice is a native Californian rarely found far from the coast. She was born in San Francisco and raised in the Bay Area art world of the ’50s and ’60s. At 19 she discovered her vocation: the art of the book and in 1974 she moved to Santa Cruz to attend the University of California, Santa Cruz and study typography and letterpress printing under designer-printer Jack Stauffacher at Cowell College. During that time, she worked with William Everson, poet-printer in the Lime Kiln Press at the McHenry Library on his renowned book, Granite & Cypress, and with Sherwood Grover, pressman for 30 years at the preeminent fine press, Grabhorn Press in San Francisco. In 1981 she inherited Sherwood’s press and type library. The library, along with the rest of the Moving Parts Press archive, now resides in Special Collections at UC Santa Barbara.
In 1977 Felicia founded Moving Parts Press in Santa Cruz where for over a decade she entertained clients and authors, artists, and students before moving the press to the mountains of Bonny Doon. Under the Moving Parts Press imprint, and occasionally the subsidiary Mutant Drone Press, she has created and published hundreds of books, broadsides, prints and ephemera. These editions of new literature, works in translation, and contemporary art explore the relationship of word and image, typography and the visual arts, the fine arts and popular culture, political criticism and social impact.
Felicia collaborates with visual artists, performing artists, and writers to create book structures in which word and image meet and merge. With one foot firmly planted in the 19th century and the other in the 21st, Rice employs traditional typography and bookmaking methods together with digital technology to bring the flexibility of screen-based design to the texture and history of the letterpress-printed page.
In her spoken word performance practice Felicia explores the book as performance art. In 2014 she published the artists’ book, DOC/UNDOC, a seven-year collaboration with four others: Guillermo Gómez-Peña, Gustavo Vazquez, Jennifer Gonzalez, and Zachary Watkins. Through the process of developing this transmedia project, Felicia experienced a profound transformation that led to her work as a performance artist.
Felicia designed and printed work on commission for over 20 years and taught book arts at UCSC for 14 years before becoming an administrator for UCSC Extension’s Graphic Design Program and later UCSC’s Digital Arts and New Media MFA Program, retiring in 2017. In December 2018 she was featured in PBS’s award-winning documentary series Craft in America in the episode, VISIONARIES.
In August 20, 2020 Felicia’s home and letterpress printing studio in the Santa Cruz Mountains went up in flames in the CZU Lightning Complex Fire. Her letterpress printshop and printmaking studio, along with her entire inventory of artists’ books, was destroyed. She had just announced her most recent edition, The Necropolitics of Extraction, with the texts by T.J. Demos, in June 2020. The book is a critical visual exploration of issues of extractionism of both human and non-human resources. It closes with a call to action, “To make the impossible gradually possible, there is no other choice.” 75% of the edition was destroyed in a devastating fire that can clearly be traced to the climate crisis and only 10 copies survived. Fortunately, Felicia was able to relocate to her family home in Mendocino, and with the generous help of almost 800 supporters, she has been reestablishing the Moving Parts Press studio with new projects underway.
Title: Heavy Lifting
Materials: Letterpress and relief printing on paper
Size: 10ʺ x 14.5ʺ x variable
(two nested accordion-fold panels: panel 1 “Birds”: 10ʺ x 14.5ʺ x 80ʺ and panel 2 “Crises”: 10ʺ x
12.5ʺ x 100ʺ
Price: $2,700
ABOUT FELICIA
Felicia Rice is a native Californian rarely found far from the coast. She was born in San Francisco and raised in the Bay Area art world of the ’50s and ’60s. At 19 she discovered her vocation: the art of the book and in 1974 she moved to Santa Cruz to attend the University of California, Santa Cruz and study typography and letterpress printing under designer-printer Jack Stauffacher at Cowell College. During that time, she worked with William Everson, poet-printer in the Lime Kiln Press at the McHenry Library on his renowned book, Granite & Cypress, and with Sherwood Grover, pressman for 30 years at the preeminent fine press, Grabhorn Press in San Francisco. In 1981 she inherited Sherwood’s press and type library. The library, along with the rest of the Moving Parts Press archive, now resides in Special Collections at UC Santa Barbara.
In 1977 Felicia founded Moving Parts Press in Santa Cruz where for over a decade she entertained clients and authors, artists, and students before moving the press to the mountains of Bonny Doon. Under the Moving Parts Press imprint, and occasionally the subsidiary Mutant Drone Press, she has created and published hundreds of books, broadsides, prints and ephemera. These editions of new literature, works in translation, and contemporary art explore the relationship of word and image, typography and the visual arts, the fine arts and popular culture, political criticism and social impact.
Felicia collaborates with visual artists, performing artists, and writers to create book structures in which word and image meet and merge. With one foot firmly planted in the 19th century and the other in the 21st, Rice employs traditional typography and bookmaking methods together with digital technology to bring the flexibility of screen-based design to the texture and history of the letterpress-printed page.
In her spoken word performance practice Felicia explores the book as performance art. In 2014 she published the artists’ book, DOC/UNDOC, a seven-year collaboration with four others: Guillermo Gómez-Peña, Gustavo Vazquez, Jennifer Gonzalez, and Zachary Watkins. Through the process of developing this transmedia project, Felicia experienced a profound transformation that led to her work as a performance artist.
Felicia designed and printed work on commission for over 20 years and taught book arts at UCSC for 14 years before becoming an administrator for UCSC Extension’s Graphic Design Program and later UCSC’s Digital Arts and New Media MFA Program, retiring in 2017. In December 2018 she was featured in PBS’s award-winning documentary series Craft in America in the episode, VISIONARIES.
In August 20, 2020 Felicia’s home and letterpress printing studio in the Santa Cruz Mountains went up in flames in the CZU Lightning Complex Fire. Her letterpress printshop and printmaking studio, along with her entire inventory of artists’ books, was destroyed. She had just announced her most recent edition, The Necropolitics of Extraction, with the texts by T.J. Demos, in June 2020. The book is a critical visual exploration of issues of extractionism of both human and non-human resources. It closes with a call to action, “To make the impossible gradually possible, there is no other choice.” 75% of the edition was destroyed in a devastating fire that can clearly be traced to the climate crisis and only 10 copies survived. Fortunately, Felicia was able to relocate to her family home in Mendocino, and with the generous help of almost 800 supporters, she has been reestablishing the Moving Parts Press studio with new projects underway.
Andy Ruble
Rydell Recipient 2010
Title: White Arch
Medium: Ceramic
Size: 16" x 18" x 6"
$2,800
ABOUT ANDY
Andy Ruble received his Bachelor of Fine Arts Degree from the Kansas City Art Institute and his MFA from Louisiana State University.
The heart of his work is the hybridization of organic and architectural structure. His work demonstrates how the analogous structures of both natural and manmade objects are important to the survival of the whole.
Ruble has held various teaching positions at Cabrillo College, Monterey Peninsula College, and Southeastern Louisiana University. He is currently the director of ceramics at Foothill College in Los Altos, California and maintains his own ceramic studio in downtown Santa Cruz.
Title: White Arch
Medium: Ceramic
Size: 16" x 18" x 6"
$2,800
ABOUT ANDY
Andy Ruble received his Bachelor of Fine Arts Degree from the Kansas City Art Institute and his MFA from Louisiana State University.
The heart of his work is the hybridization of organic and architectural structure. His work demonstrates how the analogous structures of both natural and manmade objects are important to the survival of the whole.
Ruble has held various teaching positions at Cabrillo College, Monterey Peninsula College, and Southeastern Louisiana University. He is currently the director of ceramics at Foothill College in Los Altos, California and maintains his own ceramic studio in downtown Santa Cruz.
Elizabeth Stephens
Rydell Recipient 2014
Title: Who’ Zooming’ Who?
Materials: Black and White Photography
Size: 30.5" x 28.8”
Price: $10,000
Photographer: Diane Bonder, directed by Beth Stephens
ABOUT BETH
I am a ‘SexEcologist,’ exploring the intersections between sexology and ecology through art, theory, performance, film making and theater. I aim to seduce people into engaging ecological issues by making the environmental movement more sexy, fun and diverse. Much of my work is collaboratively conceived and produced, with my partner, artist Annie Sprinkle Ph.D., with various activist groups, and with communities of artists internationally.
MORE ABOUT BETH
Beth Stephens is an interdisciplinary artist, activist and a professor at UC Santa Cruz. Her visual and performance work has explored themes of the body, queerness, and feminism for over 25 years. She has exhibited and performed in many museums, galleries and theaters across the US and Europe, such as the San Francisco Museum of Modern Art, the Vortex in Austin, PS1 in New York City, the Museo Reina Sophia in Madrid, Spain and the Muesum Kunstpalast in Dusseldorf, Germany.
SexEcology is the current focus of Stephens’ research. Stephens and Sprinkle coined the term and have been developing this new field of research over the course of their twelve-year collaboration. They shift the metaphor of Earth as mother, to Earth as lover, to inspire others to engage in a more mutual relationship with nature and with each other. By injecting sensual pleasure, humor, and absurdity into otherwise seemingly impossibly situations, Stephens and Sprinkle engage the unexpected to encourage us to slow down the alarming speed of our lives. By extension Stephens hopes that this “slowing down” will increase awareness around the current rate of ecological devastation and enable humans to engage the complexity of changing habits in order to create a more viable means of human and non-human survival in the future.
Title: Who’ Zooming’ Who?
Materials: Black and White Photography
Size: 30.5" x 28.8”
Price: $10,000
Photographer: Diane Bonder, directed by Beth Stephens
ABOUT BETH
I am a ‘SexEcologist,’ exploring the intersections between sexology and ecology through art, theory, performance, film making and theater. I aim to seduce people into engaging ecological issues by making the environmental movement more sexy, fun and diverse. Much of my work is collaboratively conceived and produced, with my partner, artist Annie Sprinkle Ph.D., with various activist groups, and with communities of artists internationally.
MORE ABOUT BETH
Beth Stephens is an interdisciplinary artist, activist and a professor at UC Santa Cruz. Her visual and performance work has explored themes of the body, queerness, and feminism for over 25 years. She has exhibited and performed in many museums, galleries and theaters across the US and Europe, such as the San Francisco Museum of Modern Art, the Vortex in Austin, PS1 in New York City, the Museo Reina Sophia in Madrid, Spain and the Muesum Kunstpalast in Dusseldorf, Germany.
SexEcology is the current focus of Stephens’ research. Stephens and Sprinkle coined the term and have been developing this new field of research over the course of their twelve-year collaboration. They shift the metaphor of Earth as mother, to Earth as lover, to inspire others to engage in a more mutual relationship with nature and with each other. By injecting sensual pleasure, humor, and absurdity into otherwise seemingly impossibly situations, Stephens and Sprinkle engage the unexpected to encourage us to slow down the alarming speed of our lives. By extension Stephens hopes that this “slowing down” will increase awareness around the current rate of ecological devastation and enable humans to engage the complexity of changing habits in order to create a more viable means of human and non-human survival in the future.
Daniella Woolf
Rydell Recipient: 2008
Title: Planet Tokyo
Materials: Woven paper framed in plexiglass
Size: 24" x 26 "
Price: $1,200
ARTIST STATEMENT
In my practice I work at organizing chaos, transforming and honoring the energy within materials. The elements that inform my work are: strong verticals, repetition, language, the form of a Native America Breast Plate, and messages revealed and concealed. The work is rich in process. Each iteration informs the next, and can include converting earlier work, or using the by-products of work in process.
Central to my aesthetic is paying homage to materials that are no longer in use. Such as things that were once ubiquitous in our society, now rendered obsolete. Family artifacts and ephemera are a part of my obsession.
The Native American Breast Plate, a cherished item in our family prop-house business collection, has been my aesthetic touchstone for decades. I find it compelling for its simplicity of form, and as an icon of power and protection.
MORE ABOUT DANIELLA
Daniella holds an M.A. in Textile Structures from UCLA. She is a recipient of the Gail Rich Award for Excellence in the Arts, and the Rydell Visual Arts Fellowship.She is the author of two books, Encaustic With a Textile Sensibility, The Encaustic Studio, and a curator and producer of instructional encaustic DVD’s. Her work is exhibited internationally and is in many collections and publications. Her art practice includes large scale installations for public spaces, collage multiples, designing stencils for mixed media, and textiles for home decor and a myriad of products.
Title: Planet Tokyo
Materials: Woven paper framed in plexiglass
Size: 24" x 26 "
Price: $1,200
ARTIST STATEMENT
In my practice I work at organizing chaos, transforming and honoring the energy within materials. The elements that inform my work are: strong verticals, repetition, language, the form of a Native America Breast Plate, and messages revealed and concealed. The work is rich in process. Each iteration informs the next, and can include converting earlier work, or using the by-products of work in process.
Central to my aesthetic is paying homage to materials that are no longer in use. Such as things that were once ubiquitous in our society, now rendered obsolete. Family artifacts and ephemera are a part of my obsession.
The Native American Breast Plate, a cherished item in our family prop-house business collection, has been my aesthetic touchstone for decades. I find it compelling for its simplicity of form, and as an icon of power and protection.
MORE ABOUT DANIELLA
Daniella holds an M.A. in Textile Structures from UCLA. She is a recipient of the Gail Rich Award for Excellence in the Arts, and the Rydell Visual Arts Fellowship.She is the author of two books, Encaustic With a Textile Sensibility, The Encaustic Studio, and a curator and producer of instructional encaustic DVD’s. Her work is exhibited internationally and is in many collections and publications. Her art practice includes large scale installations for public spaces, collage multiples, designing stencils for mixed media, and textiles for home decor and a myriad of products.
Ties that Bind brings together a dynamic collection of artwork in an exhibition that explores partnership and connection in many forms. Visitors will have the opportunity to engage with a varied array of artworks that highlight relationships formed through marriage, familial bonds, and mentorship. The exhibition invites viewers to explore these connections through the lens of contemporary art and discover the threads that bind the couples together.
Ties that Bind brings together a dynamic collection of artwork in an exhibition that explores partnership and connection in many forms. Visitors will have the opportunity to engage with a varied array of artworks that highlight relationships formed through marriage, familial bonds, and mentorship. The exhibition invites viewers to explore these connections through the lens of contemporary art and discover the threads that bind the couples together.
Link on the artist above to view (and purchase) the artwork online.
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