Art Market SAN FRANCISCO

Booth 313

April 29 – May 3, 2015

PAUL VILLINSKI
Cirrus, 2015
powder coated steel, aluminum (found cans), wire, blue Flashe
37 x 114 x 8 inches 
by commission

GINA PHILLIPS
Italian Travis, 2011
fabric, thread, synthetic hair, paint
​55 x 24 inches

GINA PHILLIPS
Tiny Circus, 2012
fabric, thread, paint
​63 x 42 inches

GINA PHILLIPS
Ross Karsen, 2011
fabric, thread, paint
​53 x 22 inches

GINA PHILLIPS
Dancing Pete, 2011
fabric, thread, ink, paint
​55 x 29 inches

GINA PHILLIPS
Rogue Wave with Fist Wave, 2010
fabric, thread, acrylic paint, ink
​30.5 x 54.5 inches

GINA PHILLIPS
A Sentimental Tree Reminisces, 2012
fabric, thread, ink, paint
dimensions variable

GINA PHILLIPS
Reminiscent Teeth, 2012
fabric, thread, ink, paint
Incisors (approx. 13 x 4 inches)
Molars (approx. 12 x 7 inches)

GINA PHILLIPS
Stars Fell on Little Yellow Miss, 2014
acrylic and oil on wood
​51.5 x 40 inches

GINA PHILLIPS
Honey Bear, 2014
acrylic on wood
​52.5 x 48.5 inches

GINA PHILLIPS
Heap Dwellers, 2014
acrylic on wood, rubble
​23 x 40 inches per unit
installation dimensions variable

GINA PHILLIPS
Sweaty Feet (Leakers), 2011
fabric, thread, ink, paint
​61 x 50 inches

GINA PHILLIPS
Sentimental Teeth: '73 AMX, 2011
fabric, thread, ink, paint, oil pastel
​36 x 32.5 inches

GINA PHILLIPS
Sentimental Tooth: Cornstalk, 2011
fabric, thread, ink, paint, oil pastel
​42 x 46 inches

GINA PHILLIPS
Flying Trapeze #1, 2010
fabric, thread, ink and paint
​44 x 44 inches

GINA PHILLIPS
Sentimental Tooth: Cornfield, 2011
fabric, thread, ink, paint, oil pastel
28 x 42 inches

NIKKI ROSATO
Untitled (Merged), 2015
hand cut road map
​79 x 52 inches

NIKKI ROSATO
Untitled (Merged), 2015
hand cut road map
​75 x 37 inches

NIKKI ROSATO
Untitled (Merged), 2014
hand cut road map
​64 x 48 inches

NIKKI ROSATO
Untitled (Merged), 2015
hand cut road map
62 x 62 inches

NIKKI ROSATO
Untitled (Connections), 2014
hand cut road map
11 x 14 inches

NIKKI ROSATO
Untitled (Connections), 2014
hand cut road map
11.5 x 14.5 inches

NIKKI ROSATO
Connections no. 2, 2012
hand cut road map
11 x 12 inches

NIKKI ROSATO
Untitled (Mouth to Mouth 3), 2014
hand cut road map
9 x 6.5 inches

NIKKI ROSATO
Untitled (Connections), 2014
hand cut road map
9 x 5 inches

NIKKI ROSATO
Untitled (Mouth to Mouth 2), 2014
hand cut road map
9 x 20 inches

NIKKI ROSATO
Untitled (Connections), 2014
hand cut road map
9 x 6.25 inches

NIKKI ROSATO
Connections, 2013
hand cut road map
20 x 16 inches

NIKKI ROSATO
Connections, 2013
hand cut road map
20 x 16 inches

NIKKI ROSATO
Connections, 2013
hand cut road map
16 x 20 inches

NIKKI ROSATO
Connections, 2010
hand cut road map
11 x 14 inches

NIKKI ROSATO
Nikki: San Diego, CA, 2009
hand cut road map
14 x 11 inches

NIKKI ROSATO
Connections no. 1, 2012
hand cut road map
17 x 21 inches

NIKKI ROSATO
Tim: Detroit, MI, 2013
hand cut road map
21 x 17 inches

MICHAEL PAJON
Open Wounds and Open Fire, 2014
mixed media collage on antique chromolitho target
23 x 23 inches

 

 

The starling Prince balances on a circus ball wounded and defending his nest from snakes and other intruders.  The background for this piece was originally a spinning toy target that lends itself perfectly to the spinning out of control that is happening in this piece.  The ghosts of dead rabbits dash around in circles, but even they suffer at the claws and tentacles of predators here.  Children play on oblivious to the tumultuous nature of their surroundings.  Pistols are drawn as some seek to usurp the prince, while others contemplate tending to the wounded.  An offering of peace is being made, but the wings of the dove are being plucked and it is any wonder how anyone in this place will make it out unscathed. 

 

This piece was partially inspired by this poem by William Buster Yeats

describing the disarray of the Starling (Stare’s) Nest.

 

The Stare's Nest by My Window

 

The bees build in the crevices
Of loosening masonry, and there
The mother birds bring grubs and flies.
My wall is loosening; honey-bees,
Come build in the empty house of the stare.

 

We are closed in, and the key is turned
On our uncertainty; somewhere
A man is killed, or a house burned.
Yet no clear fact to be discerned:
Come build in the empty house of the stare.



A barricade of stone or of wood;
Some fourteen days of civil war:
Last night they trundled down the road
That dead young soldier in his blood:
Come build in the empty house of the stare.


We had fed the heart on fantasies,
The heart's grown brutal from the fare,
More substance in our enmities
Than in our love; O honey-bees,
Come build in the empty house of the stare.

MICHAEL PAJON
Still Silent as Prey, Far from Escape, 2013
mixed media collage with hand drawing on tin type
10.5 x 8.5 inches

A newly-wed couple appear far from happy in this portrait, perhaps an arrangement of convenience which was not uncommon given the time period.  Like a snail slowly eating the flowers in a garden a slow and steady deconstruction of something beautiful.  Once entered into these kinds of contracts it was difficult to escape, snagged in the spider’s web, the ring round ones finger a constant reminder.  Losing your sense of place in the world and seeking only the passage of time to hopefully bridge the gaps between family and devotion.  

MICHAEL PAJON
A Steady Gaze, and a Matadors Nerve, 2014
mixed media collage on antique book cover
18 x 15 inches

The son of a matador, a nod to Goya's bullfighting series; we observe a man at odds with himself. He enjoys the dreamer’s pursuits of collecting butterflies, identifying constellations, and reading poetry. He would attend his father's bullfights only after much pleading from his friends.  He was, however, drawn to the beauty of the women and the various flowers they sold; the simple beauty of a carnation or the thorned and guarded petals of a rose. His life is a juxtaposition of hyper-masculinity and brutality, coupled with a boy’s love for his father and his passion for the beautiful and ephemeral.

MICHAEL PAJON
Dr. Swift's Cure for Hysteria, 2013
mixed media collage with hand drawing on tin type
7 x 6 inches
 

"Female hysteria was a once-common medical diagnosis (distinct from male hysteria), made exclusively in women, which is today no longer recognized by medical authorities as a medical disorder. Its diagnosis and treatment were routine for many hundreds of years in Western Europe. Hysteria of both genders was widely discussed in the medical literature of the nineteenth century. Women considered to be suffering from it exhibited a wide array of symptoms, including faintness, nervousness, sexual desire, insomnia, fluid retention, heaviness in the abdomen, muscle spasm, shortness of breath, irritability, loss of appetite for food or sex, and "a tendency to cause trouble".[2] In extreme cases, the woman might be forced to enter an insane asylum or to undergo surgical hysterectomy."   –wikipedia

This woman’s husband has chosen to accompany his wife to Dr. Swift’s ranch where peace and quiet and time spent in nature is said to be the cure for hysteria.  The ‘patients’ at the ranch were treated with the usual elixir to calm the nerves, and all were encouraged to frequent the gardens and socialize and share their experiences.  Gardening activities were planned for most afternoons, and after a few too many rounds of elixir the women would take to running through the gardens singing favorite songs to one another.  A sign of joyousness and sisterhood encouraged as a great stride toward their ‘recovery’. 

MICHAEL PAJON
A Beat of the Heart, A Flick of the Tongue, 2014
mixed media collage on antique book cover
18 x 15 inches
 

I created this piece with the intention of honoring the women in my life.  I’ve been lucky to share their love as family, friends, and partners and my respect for them knows no bounds.  This amalgamation of incredible women appears at peace though she is beset upon by a den of vipers and its handlers.  A vulturous gaze descends upon her, rending her scalp, yet here grace in the face of such pressure becomes unnerving.  She wears tattoos upon her skin like armor; each line etched into her skin a scarred link in her chainmail.  The term jezebel is taken from Hebrew Book of Kings which tells the story of a princess who was executed for causing the death of an innocent landowner by slandering him.  She was known for wearing fine clothing and wearing makeup and the term later became slang for ‘painted ladies’ or prostitutes.  I choose to employ it here, our heroine flying it proudly as a banner for all to see, her demeanor echoing ‘bring it’.   She is symbolic of the strength, beauty, poise and empathy that all women possess.

MICHAEL PAJON
Of Saints and Serpents, 2014
mixed media on antique book cover
19 x 16 inches

This piece is meant to read as a kind of reliquary, the skull of an unknown saint with a golden halo, his/her fate as mysterious as what lies beyond the stars in the heavens.  Serpents twist and coil in and out of what remains.  Life coiling amongst death, flowers left as offering to those who suffer from life’s many ailments.  A flock gathers below amongst the tombstones of the long forgotten, birdsong fills the air like a hymnal despite the fork-tongued devils.  A pair of brave and stalwart herons approach to dispatch the serpents infesting the remains of their forgotten saint.   

MICHAEL PAJON
A Flash of Teeth a String of Pearls, 2014
mixed media collage on bookcovers
20 x 17 inches

I often have dreams that my teeth are falling out, disintegrating, or are too big for my mouth so they wobble and fall out while I speak.  There are many interpretations of these types of dreams, instability in ones life, lack of control, fear of aging. I can certainly attest to experiencing the first two, but the last strikes me as incredibly vain, something that I am most certainly not.  These pearly whites say a lot about us, but a chip here and there ads character.  We smile at one another as a way of making connections or to appear friendly a bearing of teeth once considered a warning rendered into a greeting by thousand of years of evolution.  This glowing gaze stares ever outward, across a compass rose shaped map that never points true north.  What it sees is, or appears to see, is a vainglorious scene wherein one of great beauty is offered gifts of poppy and pomegranate, pearls and golden filigree.  The two at the top left argue over who shall present their gift. The egg left unprotected has shattered and cracked, so much attention clouding any chance it will go noticed.  

MICHAEL PAJON
Lost in the Gardens of the Wild and Feral, 2014
mixed media collage on antique book covers
27 x 28 inches

The sky is electric, the landscape is a kind of Mobius strip; part homage to the wilds of City Park in New Orleans, part post-apocalyptic landscape. A large portion of City Park in New Orleans has been left to the wilds since Hurricane Katrina, and 10 years it has become overgrown and thick with 4ft thistle and swamp grass. A home to hawks, herons, coyotes and the occasional alligator, just to name a few. In this scene, however, it is corals and anemones that have adapted to colonize on the surface, great birds nest in their writhing limbs. Pigs and cats have the amazing ability to return to their more primal and feral nature once they leave the comforts of domesticity. In this scene there are animals, plants and humans making this transition. Not everyone is so lucky here, some cling to their ways rather than adapt. The wolves that raise these children will someday be the keepers of this domain.  

MICHAEL PAJON
Sums and Summits, 2013
mixed media collage with hand drawing on cabinet card
7 x 5.75 inches

MICHAEL PAJON
Roll Again!, There is Blood Upon the Serpent's Road, 2015
mixed media collage on antique book covers
33 x 17 inches

 

 

Game boards and gaming interest me greatly as a tool for socialization but also as a reflection of life.  Board games are central in building communication skills with your peers as a child, but often come with a strict set of rules.  Everyone ends up with their own way about handling the rules, they create house rules as an interpretation of the games actual rules to encourage more casual play, others treat the rules in a much more strict manner. In life however, though there are countless rules as we often find in casual gaming experiences someone always cheats.  The playing field is almost often never flat, but a serpentine road that can be at times treacherous to navigate.  Along the Serpent’s Road things may appear tempting at times, glossy signage paving each space from the tail to the head offering one any number of things.  Along the way a host of characters and game pieces lost, astray, indifferent, and embittered.  Some naively cling to the role of the dice they are given instead of making an attempt to skip ahead.  They pass once fertile environments being carved up, sold off, mined, pumped and harvested.  The noise along the road becomes deafening, making it hard for our players to hear the warnings and read the signs that may lead them astray or take them to victory.

MICHAEL PAJON
Wound Woman: After Gersdorff, 2014
mixed media collage on tin target and antique book covers
20 x 19 inches

The image of the ‘Wound Man’ by Hans von Gersdorff was designed as a way for physicians in the field of battle to identify various types of wounds from melee weaponry.  In this interpretation, our central figure is cowgirl, the central image of the tin toy target game that this piece is built upon.  The intention of the game was to throw suction cup daggers at this ‘little lady’, a game with inherently violent overtones.  She is meant to represent the state of Women’s rights, their right to their own bodies, their rights for equality, and their right to not have to be fearful of the types of domestic violence that occurs on a daily basis in this, the ‘freest of the free’ and the most ‘civilized’, country in the world.  In each of her hands she holds pennyroyal, a flower from which an herbal abortive tea can be made.  Our heroine is being stabbed, cut, and gored in as many ways as old white men can see fit to keep hacking away at any opportunity for a woman to be on the same standing as him.   Still, she glows with intensity despite conquistadors laying claim over her dominion…as the flames of witch trials and the wounds of time and so many martyrs attempt to consume her. 

MICHAEL PAJON

Hands Remember What the Heart Forgets, 2015

mixed media collage on antique book cover

20 x 17 inches

 

 

Champagne bubbles and a crescent moon float beyond an open hand pierced thru by a fierce bejeweled dagger.  Struck through the lifeline, the hand was taken from an advertisement for a book on palmistry; there are moments that cut through us so deeply that we think we’ll never be the same again.   Finding love can be akin to luck and often requires a leap of faith.  Thom Yorke wails on Fake Plastic Trees, ‘if I could be who you wanted…all the time’ and Neko Case exclaims on I’m an Animal, ‘I do my best but I’m made of mistakes’.  The baggage we all come with can keep us from making connections, and at times we lose sight of what makes us unique as we strive to change ourselves, bending toward that flame.  The mistakes, compromises, and connections are worth the scars, for the revelry and fire that makes love so mystical and intriguing is the thing that consumes us, strikes us, and entices us.  This piece is for the lovers and hopeless romantics. Their are vines that creep through us deep into the chambers of our hearts to mend what seems to break so easily.

MICHAEL PAJON
What Beauty Blooms by Twilight, 2014
mixed media collage on antique book cover
21 x 18 inches

 

 

When we pass all that will be left will be dust and bones.  This ribcage bursts with life, a reminder of the things we shall become after death.  Our cathedral window is flanked by angels of death, grinning down upon a night sky teeming with the glow of long dead stars and the brief lives of mayflies.  Space and time are still in this space; flowers open and bloom, finches and songbirds flit and struggle to be released.  The dangers of vice and violence linger below, an oriole wonders when do the predators become the prey?  A child holds up a manifesto imploring these intruders to leave what life exists here to run its course. A monument still glows, crumbling into the floor…all things of flesh and impermanence returning to the earth.

MICHAEL PAJON
Games of Chance and Occupation, 2014
mixed media collage on antique ledger cover
17.5 x 17.5 inches

 

 

The main design element of this piece was borrowed from a handmade Parcheesi board.  There are countless beautiful variations on the board design, the only things varying being the color schemes and symbols in the center and quadrants of the game board.  It’s 1853, a tough time for our heroine…this board has been modified severely handicapping her movement on the board.  This is a time when (though I imagine many did not) women passed the time with menial jobs essentially ‘waiting’ to be married.  The eyeteeth, a symbol of wild youth and rebellion in some cultures have been placed upon the board.  Choice and pathways are laid out before her, some appearing clear with rewards placed along the path, while others off little more than closed doors and uncertainty. 

MICHAEL PAJON
Warmth and Life, Purl and Flow, 2014
mixed media collage on book cover
18.5 x 15.5 inches

Hippocrates, an ancient Greek physician for which the Hippocratic oath is named after, is believed to be the father of medicine.  He wrongly believed that the liver and spleen were the center of the body and that all blood flowed from them into the heart.  His poetic descriptions of it’s movement through the arterial system are where the ‘purl and flow’ of the title are borrowed not to mention his unflinching dedication to heal his fellow man. The two central figures are describing the, now standard, image of the pulmonary arterial systems and stand as symbols of my personal support for the equal right to marriage for the LGBTQ community.  There is great fanfare and salutation in this piece, as much has changed over the past decade and there is much to celebrate.  There are those who will continue to argue that being gay is a ‘choice’ like a pulling a rabbit out of a hat, while others will simply fume and blow smoke until their opinion simply dies out.  The Serpent of Eden attempting to cast it’s shadow upon the future, but the heart remains steadfast and its currents run fast and true to the ones we hold most dear.

BONNIE MAYGARDEN
Streaming, 2014
acrylic on canvas
90 x 60 inches

BONNIE MAYGARDEN
Desaturate, 2014
acrylic on canvas
36 x 45 inches
[SOLD]

BONNIE MAYGARDEN
Code, 2013
enamel on nylon
diptych, 24 x 28 inches each

BONNIE MAYGARDEN
Memory, 2014
enamel on nylon
24 x 18 inches

BONNIE MAYGARDEN
Merge, 2014
acrylic on canvas
36 x 45 inches

BONNIE MAYGARDEN
Photo.Copy, 2014
enamel on pleather
38 x 32 inches

BONNIE MAYGARDEN
Screen II, 2014
enamel on tulle
24 x 18 inches

BONNIE MAYGARDEN
Citronic, 2014
acrylic on paper, adhered to oak panel
25 x 27 inches
[SOLD]

SKYLAR FEIN
Yoko Ono Fashions for Men, 2013
silkscreen and acrylic on canvas
​38.5 x 26 inches

SKYLAR FEIN
Scum, 2013
silkscreen and acrylic on canvas
​38 x 25.5
unique piece

SKYLAR FEIN
Gutter Homes, 2013
silkscreen and acrylic on canvas
​39.2 x 27.75 inches
unique piece

SKYLAR FEIN
Soul Food Flag for the Army Corps, 2013
acrylic and ink on plaster and wood
​18 x 24 x 6 inches
 

SKYLAR FEIN
Lincoln (7-Up), 2013
ink and spray paint on Sundance Felt archival paper
24 x 36 x 2.5 inches

SKYLAR FEIN
Lincoln (Green Menu), 2013
ink and spray paint on Sundance Felt archival paper
​24 x 36 x 2.5 inches

SKYLAR FEIN
IBM, 2015
painted aluminum, homasote, rubber
​27 x 24 x 5 inches

SKYLAR FEIN
Happiness Is, 2015
painted aluminum, homasote, rubber
​24.5 x 24 x 5 inches

SKYLAR FEIN
Bunghole Liquors, 2014
painted aluminum, wood, rubber
​27 x 24 x 5 inches

SKYLAR FEIN
Pepsi (Think Young), 2015
painted aluminum, homasote, rubber
​26 x 24 x 5.5 inches

SKYLAR FEIN
GE, 2011
acrylic, screenprint and mixed media on card
​48 x 30 inches

Information

JONATHAN FERRARA GALLERY is proud to have been selected for the second consecutive year, as one of the 66 international galleries to exhibit at Art Market San Francisco Art Fair 2015. The fair will return to the Fort Mason Festival Pavilion this spring to celebrate its fifth edition. Following record breaking sales, city-wide partnerships, and attendance of over 20,000 visitors in 2014, the 2015 edition of Art Market San Francisco is pleased to present a significant selection of contemporary and modern artworks from returning Art Market exhibitors and exciting newcomers.

Art Market San Francisco's continues their partnership with the Fine Arts Museums of San Francisco, comprised of the de Young and the Legion of Honor, as the 2015 beneficiary of the Benefit Preview Reception. This year, for the first time, the Benefit Preview Reception will have its own dedicated evening, Wednesday, April 29th, open exclusively for beneficiary ticket buyers. Proceeds from the evening will support the Fine Arts Museums of San Francisco's New Art Acquisitions Fund.

Further integrating Art Market into the Bay Area's creative community, San Francisco's renowned social club The Battery will return for a second year to curate the 2015 VIP Lounge and lead a series of collector tours during the fair. Continuing to bring a great sense of regional inclusion and excitement to the fair, Art Market San Francisco will feature a series of presentations created in collaboration with participating galleries and artists, as well as with cultural partners and sponsors. Preliminary program scheduling includes special artist presentations, collector tours, and talks by Bay Area curators, collectors and designers. 

 

Exhibiting Artists :::

SKYLAR FEIN

BONNIE MAYGARDEN

MICHAEL PAJON

GINA PHILLIPS

NIKKI ROSATO

PAUL VILLINSKI