Archive for the ‘THE DRAWING GALLERY’ Category

Installation by Brian Caraway at Swee(t)Art Drawing Gallery. Opened last night. I walked in and nearly cried. One of the most beautiful pieces of art I have ever seen.

Brian Caraway and I have, what is becoming a long history of working together. Type in his name in the search bar on the right to explore our history. His new work is electrifying and his show at the Swee(t)Art Drawing Gallery, entitled “I HAVE ALREADY FORGOTTEN THE NAME OF THE THING I AM LOOKING AT” opens on October 30th. -obi

Obi: How has your experience been since school? I have seen you travel down a few aesthetic paths since…can you walk me through it from your perspective?

Brian: My experience since school, with respect to my art practice, has been a pretty steady climb. Don’t get me wrong, there was a pretty serious period where I did nothing but look. The climax that I experienced that I like to call my thesis work left me completely exhausted. I could do nothing but look. There is a lot of thinking and making in art school. A lot of talking, and reflecting on what one has looked at, but not so much looking for me—well, not without being told what it is I should be looking at. Granted, the things I was told to look at were, and are, pretty amazing. But the cleansing for me was looking at the things that I wanted to look at on my own accord. When that period passed I was able to hit the studio with double the power. I feel like some of the strides that I have taken post school are the longest, and the strongest yet.

Brian con’t…

As far as the aesthetic path I find myself traveling down (or paths as you have it) is a broad swath, but a singular swath at that. I entered art school making stylized landscape paintings, when I finished I was constructing minimal abstractions. One could argue that as separate aesthetic universes, but that isn’t the case for me. I like to think that the style of work I was producing before school was distilled down to a pure, clean practice. I came away making compositions out of the favorite elements of the paintings without the landscape part. The landscape served as a spiritual element to those paintings, but that is a different story for a different interview. The transition that took place at Mills College was profound, and I feel grateful for the refinement that has occurred. In addition to the painting come mixed-media fabrications, as well as site-specific installations, which I like to consider as site-specific experiences that I provide to the viewer.

Obi: You are having a show at the Drawing Gallery this month. I hate to put you on the spot, but I am going to: how do you reconcile your work as drawing? Sure you have some mark making but the string? Is it solely related based on the linear element?

Brian: Good question(s), thank you, this is just the spot that I should be put on right now. Everything I do is drawing; or based on drawing. I am not trying to be a joker by saying this, but it is true. Weather I lay down paint, or ink, or pencil, or pastel, or light, or string it is all done with the same attention to the quality of that line. The aesthetic path that I find myself on began with radio broadcast towers. Those towers ceased to be towers and became parallel lines. Some of the early experimentation with parallel lines was in the form of fluorescent light bulbs (with which I found some fantastic success). However, in all honesty, that feeling of success came too quick. It wasn’t enough for me. The refinement continued to produce linear compositions of string that are not unlike mini blinds turned on their side. At its foundation everything is based on the linear element. As I lay out the string into its parallel fashion like I plan to in the Drawing Gallery the dialog extends beyond the two dimensional realm and breaks into the third dimension—hopefully carrying the experience into the next dimension.

Obi: How would you classify you work? Would you? Op art? Minimalist art? It is so refreshing to see someone relevant and working who is not rendering and also, who is not working abstractly. I don’t think of your work as abstract, do you?

Brian: I am proud to classify my work as Minimal (Hard Edge Minimalism if I might be so bold). Before me are some fantastic painters that have worked in this fashion, and I hope to someday be lumped in there as a new voice along a well-trodden path. I do tend to make things that create optical friction however, I would not place myself into the category of Op Art—well, not yet at least—hard to see, the future is. I like to think of my work as abstraction, but am still looking for clarification in this sense. I feel that it is abstract, but with such attention to edge and frequency, can it be abstract? An abstraction of an idea of pattern perhaps. Does that make it abstraction? That is my question to you Obi.

I think it does.

As the Drawing Gallery is well into its second year, I have changed up the regular curriculum of high-concept group shows to now, a series of solo shows. The picture above is of the three artists who represents a kind of trilogy in my mind, from left to right, Alex Rosmarin, Dan Nelson and Brian Caraway. The dialogue that has been generated by their respective shows gets exactly to the core of why I started the Drawing Gallery in the first place. Alex’s show, ENTANGLED, was up in September and exhibited his amazingly fluid skill of poetic dreamscapes and twisted eroticism. Dan’s show is up now,  THE ORIGIN AND THE FUTURE OF THE BLOOD, is a show of cut out shapes that make specific reference Pascal’s (17th century math guy) theories. The wit implicit in Dan’s prolific show stretches what we think of as a drawing and even, a work of art in a larger, historical context. Brian is going to bring his methodic, rhythmic, ultimate vision of art to the space on October 30th. No doubt a cycle will be completed and we will all be the better for it. -obi

You may remember Dan from around the Oakland art and music scene. The man is an institution, at least in my mind. If you want to learn more about him type his name into the search bar at right and see the glorious history. In any case, Dan moved away last year with his wife Lexa Walsh, to Portland, City of Dreams. This show marks a remarkable homecoming for him and his particular flavor of fun, wild, beautiful and wonderous art. I shot the pics below on a recent sojourn through Portland where I stopped and stormed into his basement studio. -obi

Dan Nelson’s recent works illustrate 40 of the fragments of Blaise Pascal. In his words: “They are all done with red, grey, and black paper, and will afford you ample opportunity to contemplate death, infinity, passion, God, Jesus, knowledge, caprice, and futility whilst masticating cheese and partaking of the grape. I’ve been working on these images and thinking about Pascal for almost 4 years, and think this is my best artwork yet. I hope to see you there.”

The Reception is this Saturday evening at The Swee(t)Art Drawing Gallery. 1165 65th Street. Oakland. California

from Wikipedia:

Pascal’s most influential theological work, referred to posthumously as the Pensées (“Thoughts”), was not completed before his death. It was to have been a sustained and coherent examination and defense of the Christian faith, with the original title Apologie de la religion Chrétienne (“Defense of the Christian Religion”). What was found upon sifting through his personal items after his death were numerous scraps of paper with isolated thoughts, grouped in a tentative, but telling, order. The first version of the detached notes appeared in print as a book in 1670 titled Pensées de M. Pascal sur la religion, et sur quelques autres sujets (“Thoughts of M. Pascal on religion, and on some other subjects”) and soon thereafter became a classic. One of the Apologie’s main strategies was to use the contradictory philosophies of skepticism and stoicism, personalized by Montaigne on one hand, and Epictetus on the other, in order to bring the unbeliever to such despair and confusion that he would embrace God. This strategy was deemed quite hazardous by Pierre Nicole, Antoine Arnauld and other friends and scholars of Port-Royal, who were concerned that these fragmentary “thoughts” might lead to skepticism rather than to piety. Henceforth, they concealed the skeptical pieces and modified some of the rest, lest King or Church should take offense[30] for at that time the persecution of Port-Royal had ceased, and the editors were not interested in a renewal of controversy. Not until the nineteenth century were the Pensées published in their full and authentic text.

Pascal’s Pensées is widely considered to be a masterpiece, and a landmark in French prose. When commenting on one particular section (Thought #72), Sainte-Beuve praised it as the finest pages in the French language.[31] Will Durant, in his 11-volume, comprehensive The Story of Civilization series, hailed it as “the most eloquent book in French prose.”[32] In Pensées, Pascal surveys several philosophical paradoxes: infinity and nothing, faith and reason, soul and matter, death and life, meaning and vanity—seemingly arriving at no definitive conclusions besides humility, ignorance, and grace. Rolling these into one he develops Pascal’s Wager.

Learn more about Dan Nelson’s artwork at his art project website

some of the advertise features are not published yet. don’t fret.

Alex kicks ass in his new show at Swee(t)Art. Drawings sell for $175 to $250. unframed.

The show is called “Entangled.”

Swee(t)Art Drawing Gallery

1167 65th Street. Oakland.

Hours Wed thru Sun 12-6pm

Show runs through Sep 19th

(here is an impromptu facebook conversation artist Cheyenne Pallo and I had before Alex’s opening last week.)

Obi Kaufmann: Last night Alex says to me: “My drawings are like Oakland, they both remind me of an vacant lot when you were a kid. Wild and dirty. That’s why I love this town.” Alex Rosmarin’s show opens tonight at the gallery. I Hope to see you.

Cheyenne Pallo: Ummm, we should all aspire to filter through some wild. Some filth. Well put. (& I’ll be wanderin in, curious eyes & all).

Obi Kaufmann: Right. Tangles, brambles, dandelions, ladybugs and lizards.
Cheyenne Pallo: Crocodiles, crazies, & hidden gold. What gardens we have!
Obi Kaufmann: Crows and black sage, old rusty trucks, praying mantis and old oaks.
Cheyenne Pallo: ‎& rusty nails, right? & rusty women. The wildest roots break the filthiest cement. Its simple ~ Home be heaven! lol.

Brian Caraway is one of those few artists who proactively engages my own relationship with reality. I see Brian’s patterns in nature, in the city, or in my own sense of a kind of social rhythm that is abstract and largely opaque. I reminded of his work often by simply going about my day, by simply seeing and observing, is not that what “Op” art ultimately aims to achieve? mission accomplished.

 His new show up now at Branch Gallery (Address 455 17th Street, Suite 301. Oakland, CA 94612. phone 510.508.1764, click here for website) is a collection of some of his strongest work yet. Click here for Brian’s website. Brian will be showing his drawings at the Drawing Gallery on Oct 30. So you will be seeing a great deal more of him around the Swee(t)Art blog as the time approaches.

Dave is actually a studio mate of mine, down the hall at the Hive. It makes studio visits easy. Although Dave doesn’t have a website portfolio online right now, you can enter his name in the search bar on this site and get quite a feel of his work over the years that I have been advocating for and curating his art. I asked him a couple of questions in preperation for his inclusion in A SIMPLE BESTIARY at Swee(t)Art tomorrow night.

Obi: You and I have quite a history of working together now. I think it has been about a year and half since your solo show at Zza’s Wine Bar. What have you been up to since then? How has your work changed and what are the themes you are dealing with now?

Dave: Yes Thanks for the support over the years Obi… is at least our third show together, there is always an interesting theme for your shows and it is always fun to be involved. I have been laying a little low this year, working on smaller pieces, drawings and paintings, studies for larger projects. Also doing more toy prototypes for larger companies, other artists for production over in china (as most things are) and my own “one off” toys. 
My themes, characters and images have been about the same for the last 2-3 years now; I think what change, if any, has been in pushing myself to work with a collective unconscious subject matter, pops cultures with a slant on cartoon / comic book iconography plus working with no scrap or photos has been fun and challenging at the same time, memories have a funny way of changing the way things really are.

click on image to enlarge

Obi: Your new work that will be on exhibit at the Drawing Gallery this week was Drawn with a special pen that has certainly given your work a manga-like, decidedly calligraphic feel. How did you find this pen and how do you think it has influenced your style?

Dave: Yeah I have a few of these Japanese brush pens, I have been playing with them off and on over the years … those and Japanese old school quill nib pens (dipped in drawing inks) I think they are used for inking “Manga” they seem to hold the ink and love the paper more then other types I’ve used. These new drawings that are for your “A Simple Bestiary” show were done with a combination of the brush, quill pens and pencil… of which I love drawing with the San Rio “hello kitty” HB pencils. Regarding the style influence of the brush and pens … I think they have their limits and are limitless in what you can do with them … I think that is the beauty in the line on paper, rough or smooth, beautiful and playful… it’s all in how far you want to push it and learn from it.

Obi: Your built toys are brilliant. If you could, say if you had a magic wand, what would be you masterpiece? That one very special toy, I don’t know, maybe that you are planning already…what is it? and what would it do? Any plans to show your real toys anytime soon?

Dave: Wow thanks, glad you like the toys. I don’t really want a magic wand for making stuff, because most of the time I have no plan when I start a toy or figure (of my own character) I just start with a general idea in my head and go at it. I might draw it later to refine the shape but initially nothing is planned out. (laughing) The masterpiece is yet to show it’s self. I’m really looking forward to trying to incorporate some sound to the toys, staying true to the “no electricity needed” idea, is to have the toys move, make music or other, with just simple kinetics. This fall of 2010 it’s my hope to showcase some new toy projects in a show, with drawings and painting to support them … sort of giving them a place to live, a world we we can visit, when we need a break to play.

I wanted to take a new picture of Dave but he said there were enough out there. You can type his name in the search bar in the upper right of this page and you can find a bunch of pictures of him if you want.

Dave’s drawings will be debuting in the Group Show entitled “A Simple Bestiary” tomorrow night, Saturday, July 10th at Swee(t)Art Drawing Gallery at 1167 65th Street. Oakland. He got the night off work, so Dave will be hanging out. It is an epic show.

David Seiler’s work rings with talent, energy and discipline. Across media, David’s rich figurative work demands the viewer accept his bombastic take on sex, spirituality and classicism. You may have read about David doing back flips in the galleries where he shows his work (the guy teaches gymnastics). Those days are gone for now as David broke he clavicle late last year. Don’t worry, It didn’t slow him down. He is still a bouncing ball of lightning and creative inertia.

David recently opened the Victorian Rat Gallery on Manila in North Oakland and will be showing some large-scale, animal drawing in A SIMPLE BESTIARY at the Swee(t)Art Drawing Gallery, opening July 10th.

Click here to see my first Studio Visit with David over a year ago.

Click here to see my Premium Tattoo show report and see a picture of David flying!

Obi: You and I have been talking about your art since you showed at Premium as part of Art Quest 2 last year. I have always been a huge fan of your work. I know you are totally inspired by old catholic Iconography. I know you are kinda fearless in your imagery, How do you think your upbringing has influenced your work?

David: I was brought up by a Catholic Mexican mother and hippy father with a cynical sister who always supported and accepted things I created. They definitely were the sunshine in my art garden.  I have always admired catholic art and design of colonial and post-colonial Mexico. I find it sexy, gaudy, graphic and provocative. My relative’s homes in Mexico are filled with Guadeloupe, baby Jesus and popes.

Obi: You just opened Victorian Rat Gallery in your garage. How did that idea come about and what are your plans with it?

David: I’m just trying to inspire more people to show their art. Brianna, my girlfriend, is the one who pushed me and made it happen. She’s bossy. I have some amazing artists lined up that will exhibit sculpture, neon art, photography, and graphic design.  All solo shows. It’s a small, intimate space and is a sweet spot to talk, look at stuff, have a beer or whatever.

Obi: You have this particular eye motif. This totem-like feature that repeats throughout your prolific portfolio and kinda cements the David Seiler brand.. What is the story with how this style came about?

David: It’s my Bay Warrior totem. Northwest coast Native American mixed with some Aztec and Mayan, African, and Catholic art. I have all these identities constantly invading my mind. Once back in art school, a professor hosted a trip to Alaska to carve with the Tlingit of Alaska. I couldn’t go. It ate me up. A lot of crazy things were going on in my life. I made my Bay warrior to help, guide and protect me. I think he’s doing a great job.

Victorian Rat Gallery is located on Manila Ave, in North Oakland. For address and inquiries contact David or Brianna via email at

Moises Aragon has a strict sense of design that feeds his practice in a way that is rare, unique and radiant. He will be showing his work (in fact on an ipad! under glass) in the Swee(t)Art Drawing Gallery at the Simple Bestiary show on July 10th. I see him pretty often at the Hive as he is my studio mate and often rolls good cigarettes that he shares with me. I love this kid. You can come see his big scale paintings at the Hive this Friday night. There is a preview posted here of the paintings before the show is hung. I recommend this as a great stop on your First Friday tour this week..

click this image to enlarge!

Moises Aragon

Obi: How did you come to Oakland? I know you are from the South, I wonder how the Art scene differs between here and there.

Moises: I came to Oakland by happenstance. I’ve been on an artistic nomadic path for the past 8 years and Oakland was just another stop. Though, unlike other cities, Oakland/bay area has always been intriguing region. I was here 3 years ago and explored a lot on foot and I experienced a rich weird culture to say the least. I think it’s the lack of pretentiousness that drew me back here.
Miami on the other hand..Miami is a place with great and wonderful art, limitless resources for artists and great exposure for emerging artists but only for four days out of the year.  I’m referring to mega art showcase Art Basel Miami Beach,  “sister event” of Art Basel Switzerland. For the past 8 years that event has transformed Miami’s then non existing art scene into something very ugly; I can run the analogy of an actor trying to hit it big in Hollywood. It’s somewhat fizzling down now and the opportunity to actually get shown in galleries is a reality, but make sure you have your Harvard degree handy. I’m being a bit facetious but in reality you really don’t need talent in the Magic City. Unless your are a graduate of some sort, have good connections and/or have a lengthy resume your chances of even getting a foot in the door are slim.

Moises Aragon

Obi:  Pink Redux is the name of your show at the Hive in July. Where does this name come from?

Moises: It’s a statement; Pink is debuting..for a second time. I’ve been working on this series for the past 11 years. It started off strictly abstract, heavily influenced by politics..I had great material to work with then. Over time I matured and my work matured and though politics was still an influence it wasn’t my main motivation, I was focusing more on conflicting ideologies. A couple of years after that transition I stopped producing tangible work and embraced technology as a medium and a studio. Now I have a traditional studio and I make tangible work that’s supplemented by technology and this new work is what’s going to be shown, Pink Redux.

Moises Aragon

Obi: Your work is unabashedly fearless across a number themes that frankly reveal, among other thing, layers of sexual identity. What is your history, briefly stated, with these motifs? For instance, the gas mask meets the underwear…these graphic realities, beautifully rendered, are designed to not only shock but to exist in a decorative space, how do you reconcile the two?

Moises: Referencing an apocalyptic outcome I’ve always been intrigued by what people would wear. It seems logical to me that not having any resources one would accept a lifestyle of unintended exhibitionism. My characters up the level, especially Pink, due to their untamed nature and unforgiving attitude.

July 2. 2010. Moises Aragon at the Hive. First Friday. 6pm. 301 Jefferson. Oakland. CA

Steven Barich is one of the most considerate men I know. He exudes this kind of Old World artist quality about him that is gentlemanly and introspective. You throw on top of that the gifted hand of an illustrator who doesn’t cheapen the pure, intellectual pursuits behind his practice with gimmicky graphics, and I am telling you, you’ve got a complete package. I hadn’t seen his new Jingletown home yet and he invited me over for a weekday cup of tea with his dog gypsy and we talked about making quiet works is a straightforward way.

Steven Barich

Obi: It has been a year or so since your Logic Stone show at Rowan Morrison right? How has your relationship to the Scholar’s stones changed over the past year? Where does your fascination with them come from?

Steven: Yes, my solo show at RW was last June/July, 2009.  A perfect opportunity to have a small, focused exhibition of this new-ish Logic Stone series.  Since then, I’ve followed a logical progression (pun?!) towards a grand 10 large-sized stone series, with small tangents, bumps, rocks…you get the drift…along the way.  Although Life with a big L conspires to get in the way of this project, I am slowly but surely rolling along and producing some new work (  I still see the Stones as personal/mystical/peaceful/mysterious sculptures—if you grant me permission to allow drawing to exist for a moment as an object—and I see them not just as artwork to look at, but to live with.  They are also heavily invested with my own hand, my time and energy, literally.  And from this, I think it is fair to say, each stone is a fragment, a shard, of myself.  Own a piece of the artist, today!

Steven Barich

Steven continued…

All joking aside, I am fascinated by the process of creating an image or an object that is referencing our desire to meditate on the meaning of a thing, or on simply meaning in general—asking the questions what is this, what am I really seeing, what am I learning in this artwork/viewer situation?  But, in a quiet way.  These are quiet works, for extended consideration.  Furthermore, I am fascinated by a capacity of the artist to make an image or object that can transport the viewer into another place, a memory or an emotional state.  Can the Logic Stones do all this?  I’ll leave that up to others to decide…but the idea that artists still have this beautiful magic skill, and works of art have this power, is what gets me up in the morning, gets me out looking at new work regularly, and as well, getting myself into the atelier.

Obi: How do you classify the disciplines of your work in your own mind? Do you have to? Are you an illustrator or a painter? Does the media dictate or prescribe the artistic proclivity?

Steven: I’m pretty much adverse to pigeon holing.  I can say that in the past I’ve struggled with labeling my art practice in any straightforward, soundbite kinda way—it’s just not gonna happen.  I am an artist.  I try to be very good at the thing—with the medium—I’m using at that moment.  skilfulness and craft are my discipline, that’s just how I was introduced to art.  I am also very much behind pushing myself to do art-making actions that reach an extreme level, such as can be seen in the intensity of mark-making with each Logic Stone.  And, not all ideas can be manifested in the same, one medium, so I keep learning about my limits as an image maker…then push on beyond them. 

Steven Barich

Obi: Your award winning blog ARTOPIC.ORG is a wonderful resource with a world class way about it that seems to transcend provinciality. How did you go about starting the website and what are your future plans with it?

Steven: Talking about visual art, pushing forward ideas, interpretations, reactions and the like, challenging what you’re given, responding, discussing again…this is why I started Artopic.  Because the East Bay art scene is on the up and up, there is a real need to write one’s own history, so to speak.  It was and still is my desire that Artopic could function as an online portal to that: local and inter-local authors would reflect on their “scenes,” and a conversation, dialogue around those reactions, would create an awesome feedback loop, generating an immediate and non-academic record/history.  So, big idea brought to a small action, really.  Artopic, unfortunately, has been rocky in my desired audience participation.  But hey!  All the contributions by authors do create a unique picture of the local scene, so far…go check it out!  As for now and the future, I keep passing out invites to unique local voices to jump on the Artopic bandwagon, and anyone with an inkling to join as an author is welcome to contact me.

Steven Barich

Steven’s Drawings will be featured in the group show “A Simple Bestiary“, premiering July 10th at Swee(t)Art Drawing Gallery.

I am so proud of the line up of artists showing at Swee(t)Art Drawing Galery next month, among them, some of the best illustrators and drawing artists in the Bay Area: Steven Barich (with Gypsy), Sera Sexton, Moises Aragon, Michael Eli, David Seiler (exposed) and Dave Higgins. The show is entitled “A Simple Bestiary”. and opens July 10th.

Put July 10th on your calendar. The Compound is having a great group show too. The two galleries (along with Professor Squirrel) share a storefront. 1167 65th Street. Oakland California.

“ A Simple Bestiary”,

The Sweetart Drawing Gallery

1167 65th street, Oakland, California.

Show includes, artists:







Show Runs July 10th through August 8 , 2010

Opening Reception Saturday, July 10th, 6-9pm

First Friday Reception Friday August 6th 7-10pm

Tea (Last Sunday of Show) Sunday August 8th 3-6pm

This show represents the core of what, to me, Drawing means: mark making as reaction to the animal world. Remember Lascaux. Remember Altamira. Think Post-primal modernism; figuration meets abstraction.  This exhibit of unframed work, namely media clipped to the gallery wall, is unassuming and free; torn from the sketchbooks of amazingly talented artists, this show is a return to the core ideals of the Drawing Gallery: great, original, proto-work presented as complete because of its creative novelty.

Tomorrow Night. Swee(t)Art Drawing Gallery. 6 tp 9 pm. 1167 65th street. North Oakland.

give me a call if you want more information. 925-951-7501. Obi

click to enlarge

“This Invented Earth”

The Sweetart Drawing Gallery at 6602 San Pablo Ave, Oakland, California.

Show Runs May 29th through July 4th , 2010


Opening Reception Saturday, may 29th, 6-9pm

First Friday Reception Friday June 4th 7-10pm

 Tea (Last Sunday of Show) Sunday July 4th 3-6pm


participating artists:


Kara Joslyn

John Colle Rogers

Micke Tong


This show is based around the origin of the created worlds by artists working in a variety of media. The gathered roster will include emerging and established artists from a regional and national level who have built their careers on exploring their voice in worlds of their own making. This show is interested in the moment of genesis in the artist’s eye, when the artist almost as an explorer, finds their own brave new world in a moment captured in the simple act of making line.


(above) the artist’s shoes posing with Rosco. Left, Kara, middle, Micke, right, John.



The enchanting Kara Joslyn in from of her Horizon series of Drawings that seem to render a place of utopian design and living, a place where I would like to live in a time period somewhere between 1976 and 2076.



Nobody scares me more, or makes me laugh harder than the wonderful John Rogers…a difficult and unique balance that he strikes effortlessly. Here Johnstands in front of his Racoonapocalypse drawings that actually glow in the dark.


The dashing Micke Tong in front of his Earthling series: rendered figures who’s scaled skin seems to scintallate in a strangely familiar way.

the Show runs through July 4th. The Gallery is opening Wednesday through Sunday, 12-6pm.

1167 65th Street. Oakland. California.

Obi Kaufmann. Curator, operator, phone 925.951.7501

The Drawing Gallery operates philosophically from a place near the origin of visual art. As a force in the world, Drawing separates humanity from all other terrestrial life-forms with its mysterious ability to transmit rudimentary information about beauty, mortality and emotive trans-generational divinations. Modern Art has subdivided itself into a million nodes of fashion and commodity and still there remains this mark-making impulse that ties us to the beginning of all art which begat then language: writing, theater, the visual arts, et al. The Drawing…the first beautiful word of the hand, the first dance, where the mind meets the eye and the creative spark is kindled and kept.

Swee(t)Art? Yes. It used to be a magazine,and then a website…now a gallery. Mixing both the Sweet and the Tart, Swee(t)Art has always been about the many flavors of contemporary Oakland . Although the gallery is committed to showcase regional and national art and the focus is on the local community, the scope of the work is not provincial and the themes, craftsmanship and presentation of all the high-concept shows at Swee(t)Art are of the highest aspiration in both presentation (of the individual) and cohesiveness (of the group).


  • Moises Aragon