Leslie Andelin has been immersed in the arts since she stole her first brush at age three. After earning her BFA at UC Santa Cruz she moved to Florence to study at Studio Arts College International. Her graduate work at the San Francisco Art Institute led to an MFA in painting, a critically acclaimed series of cityscapes and naturescapes, gallery representation, and Oils, a lush retrospective of her paintings to date. While Leslie’s abstractions and representational work explore the patterns and repetitions of nature, cities, and landscapes, her true subjects have always been light and emotion. While the abstractions guide viewers toward a specific emotion, and her abstract work strives to elicit emotions directly, all are first and foremost about states of mind. Leslie’s work has appeared widely, including the Florence Biennale; the Limner Gallery in New York; George Krevsky Fine Art, Meridian Gallery, SF Convention & Visitors Center, and SOMArts Gallery in San Francisco, Lite Rail Gallery in Sacramento; the Triton Art Museum in Silicon Valley; the Museum of Arts Downtown in Los Angeles; and the Shedd Aquarium in Chicago. Her paintings and sculptures are featured in private collections and corporate venues across Europe, Japan, and the United States and have been loaned through the SF MOMA Artists Gallery. Born in Los Angeles in 1963, Leslie lived and worked in San Francisco from 1988 until 2016. She currently resides in Marin.
Painting the cities is a way of bring everything back together – to express that we are in fact part of this planet, that we belong here. If I can take something I see and single out what makes it beautiful to me, then I’m resonating with something around me; the feeling is one of belonging there. Once I really started looking at San Francisco, I became very attracted to the weather, the light, the fog…these imparted a sense of belonging, of peace. That started me on a path to finding a way to paint that emotion itself, rather than painting the physical images that elicited it or the entire balance in which that emotion fit. The city became a structure into which I could start putting the elements of emotional conveyance; the light and emotions and contrasts. Of course to do that, one still has to start by unraveling the complex abstraction of it all. You have to try to understand how all those little marks ultimately say ‘city,’ or ‘downtown,’ or ‘houses’. At this point I feel like I have achieved a vocabulary for that.
Born in 1972 in Fairfax, Virginia, Kevin Keul was raised by a housing developer in the foothills of North Carolina, where he developed a deep relationship with the land. He witnessed the transformation of the land from its natural state into suburban constructs and an engrained systematic approach towards reconstructing nature was nurtured in his mind.
In 1996, Kevin was honored as the best sculptor in his class from East Carolina University in Greenville, NC. After graduating with a BFA in Sculpture, Kevin moved to the San Francisco Bay Area where he continued to work on sculptural projects. He became proficient in specialty surface treatments and unique building techniques. Working with objects from his West Oakland neighborhood, Kevin pushed his mastery of techniques with resin and material, referencing the larger context of the built environment around him. Embracing various media including photography, his work evolved from purely compositional based works into narratives touching upon the human experience.Over the years, Kevin has continued to reflect upon his interest in Land Scarification.
Classes at the Peralta School System developed new skills including TIG welding and digital printing. This was followed acceptance to the graduate program at Mills College in 2013. In 2015, Kevin earned his MFA and presented a new body of constructed paintings at Incline Gallery in San Francisco and Bridgemaker Arts in Richmond, CA. He was also nominated that year for the Headlands Center for the Art Graduate Fellowship. Kevin currently lives and maintains his studio practice in East Oakland.
By creating layers referencing observed shifting formations of terrain over time, my work aims to draw attention to the ever evolving markings made to landscape through consumption and manufacturing. Taking inspiration from shapes sourced through satellite images and aerial photographs, my work is created through an abstract approach with materials rooted in construction such as steel, iron and plywood. Each shape is individually treated with paint, burnt with welds, etched into with raw lines, and at times coated with resin. Directly referencing recorded shapes from our current landscape, rusted metals and treated plywood pieces interplay with chalk paint in a more gestural and intuitive process merging color with form. Embedded into plywood, stark white panels securely hold the various formations which allude to the transformation of raw material into new manufactured landscapes.
Observing these “man” made shapes intentionally, from a distance, through these digital tools, allows me to explore not only the distance we may relate to the landscape as a society immersed in technology, but also questions the separation we may have to the actual dirt beneath our feet. From fracking and salt ponds, rectangular formations in farm fields, circular patterns resulting in irrigation fields, my work observes the new constructions of our landscape.
1101 Lake Street at 12th Avenue
San Francisco CA 94118