My artistic expression is grounded in an inherent appreciation for detail, wonder for the natural world, a deeply rooted love of music, and dedication to the creative process. From my ever-present conscious experience of living this human life, I gather personal truths that find their voices within my artwork. Through this journey, my goal is to help someone feel something from the inside out. More specifically, to share with someone feel the way I feel, at least for just a moment; to show them the world through my eyes, with all of it's beauty, imperfections, unbelievable detail, and bright wonder. My aim is to slow down the pace of living for a few moments, and allow people to take their own time to appreciate exactly where they are, because, I believe that Time is the most valuable gift in this world, and we should always know that we are exactly where we need to be.

Ramon’s Tailor is a former tailor shop that was transformed in July 2011 into a small, volunteer-run artists’ clubhouse and studio in the Tenderloin neighborhood of San Francisco.

The uniquely, intimate, subterranean studio is always open to interaction through a large vitrine window—stop by and see what we are up to.

I studied architecture at UC Berkeley and graduated with a BA in Environmental Design. Since then I've practiced architecture, interior and graphic design and fine art in the bay area.

My subjects include portraits, landscapes, pets and male figurative images. I express the passion I find in my subjects with color and texture and render shade and shadow to emphasize light. I think of shapes as topography, irrespective of the subject.

Several years ago I adopted a mixed breed dog and named her Kama. As a result I embarked on my pet portrait business, PetPicasso.Net with Karma as the CEO (Canine Executive Officer) I’ve included many of the commissions on this site.

In 2008 David Leddick published three of my figurative paintings in two of his pictorial anthologies, “The Nude Male 21st Century Visions” and “Gorgeous Gallery.” David included the following with the paintings:

“Boldly impressionist and highly charged with color, David Barnett is the 21st century’s connection back to artists of the turn of the last century like Renoir. The human form is his subject but he finds shapes and colors there through his artist’s eye that reveal to us things not seen or noticed before.”

Cheers,

 David

Margaret Timbrell is an artist based in San Francisco. She studied with Lisa Yuskavage at New York University, where she earned her degree in Studio Art, and was a fine arts student at Speos, Academie des Beaux Arts, and Jussieu Paris 7. In her final year at NYU, Timbrell developed a love and appreciation for conceptual art and the corps exquis with her mentor, author Lawrence Chua. Timbrell travels back and forth between mediums. Until recently, she worked exclusively in photography, focusing on the photograph as installation. But after a terrible accident in January, 2007, in which she was run over by a truck, Timbrell picked up an easel and rediscovered painting. Timbrell's paintings are abstract studies of intense colors, seen from up close. She begins her work by selecting colors that clash. With time, as she immerses herself in the painting process, she brings the extreme colors into a restless dialogue. Her photographs, on the other hand, focus on the intimacy of space: the startling proximity of a bedroom wall, the span of floor beneath her bed, or images that have been made abstract through intentional color misprinting. Though building off of classic compositional structure, Timbrell’s paintings and photographs are distinguished by a fascination with the surface textures of her everyday environment.

I am primarily a landscape painter. I specialize in trying to paint reality; painting what I see as accurately as possible and trying to capture a real moment.

Last November, I took a plein air painting trip to the suburbs of Vegas thinking I would capture some great housing subdivisions. After a lot of hard-work and travel (and some enjoyable sight-seeing), the paintings did not turn out as well as expected. Disappointing.

Back at home, I decided to paint fruit and veg in the studio. Generally I paint still lifes every year for auctions or whatever, but this turned into a whole series.

My sister was always telling me to get rid of stuff. "Take a picture of it and then get rid of it." I added some objects to the pictures but I did not get rid of the objects.

I am pleased with the results. It is still painting reality, but easier--much easier. And you can eat some of the stuff when you are done.