I started my art life working in a variety of sculpture medium: casting metals, clay, plaster, welding, etc. About 5 years ago my ideas began evolving in a direction that needed a stationary physical plane. I also wanted to do a personal exploration of color, in a contemporary approach. Painting fit the niche.

   The results confirm that my artwork has always been about the human body and the human mind. I am inspired by microscopic worlds, energetic fields, and the mysteries of the human brain. I am intrigued by how concepts become ideas, and how those morph into matter/ physical reality on the quantum level. My thoughts exist inside of me, and outside of me. 

  What are the physiological parameters of intelligence?

  Can the DNA in our cells be intelligent?

  Can ideas be an energy that we can visualize and actually see?

I invite the viewer to indulge in speculating on the questions, suggested here.

In this body of work, I imagine thoughts as creative energy forms consorting with atoms, neurons, and single cellular beings.   This interplay can exist within a cerebral gridlike landscape, or against a limitless void.

I am a San Francisco artist, deeply inspired by the beauty all around us: the contradictions, humor, connections and straight up gorgeousness of City and Nature.

This work captures the experience of personal challenges, delights, loves, perspectives and perceptions. Projected on this place from a crow’s nest in San Francisco. It pays homage to the eternal history alive in the buildings, neighborhood and ever-changing community.

The use of color and line to express emotion has been central to my work since I began painting a decade ago. For several years, I focused on creating straightforward representational works – landscapes and interior scenes, in particular. Over time, my subject matter has become more subjective and abstract. Starting with easily recognizable images – desert vistas, carnival rides, pine cones, leaves - that evoke emotional memories for me, I explore these images, push their lines and structure, and introduce color that expresses the emotions suggested by the image. I am continuing that exploration in my current work, using color, line and form to convey feelings evoked by my experiences – a cold Midwestern winter day, an arid landscape in the high desert. I am also exploring ways that color, line and contrast can transform neutral source images, such as snow or salt crystals, into something new, surprising, visually ambiguous and emotionally expressive.

10/10/12

I love painting portraits, whether they be humans or animals.  I feel like so much of our spirit is transmitted through our faces, and it gives me complete joy when I'm able to capture and translate this onto my canvas.  For my first collection, I followed my love of nature and wildlife to create what I call my "Beautiful Beast Suite".   Hope to see you at SF Open Studios this Fall.  

Art is a VERB for me. It is an action word and not a statement, nor an object. The most important part of artist's life has always been feedback, either positive or negative. Feedback is the result of vital functions of art since any feedback is an evidence of existence, presence and growth.

Anna Seven

I started off as a figurative Illustrator and Photographer, but in the last few years I have been drawn more towards Abstract Painting, with an emphasis on color, movement, mood and expression. My favorite mediums are Olis and Inks.  I also teach Art to Kids :-)

Farzaneh Farid is an Iranian-American artist and author who was born in 1957 in Esfahan, Iran.
She graduated From the University of Kansas in Fine Arts in 1978. 
Since then she has been working as a visual artist teacher and painter. 
Her works have been shown in several exhibitions around the world. 

I make abstract paintings on canvas, panel, and fabric. Physicality and color drive my work. Evidence of my body is revealed in the rawness of my mark making, with loose brushwork, drips, and muscular swipes across the surface. Strange mixtures of artificial and natural colors that can sometimes seem like they would never fit together yet somehow do: weird greens next to extreme yellows on top of grey blues beside earthy oranges, dull purples, bright reds, and dirty whites, are pushed and pulled around my paintings until they come to some sort of balance. I thrive on this dance of intuitive gambles and considered choices, finding ways to take meager materials and make something fresh. I do not start with a specific plan for a painting, but watch it unfold as I go. I am not trying to depict something in particular, although what I've seen must, indeed, inform my vision. I am not trying to tell a story, even though, if I'm lucky, my paintings might provide something to think about. I am not playing an instrument, but there is rhythm and lyricism running through my compositions. I am not interested in painting things that I already know; it is the mystery and revelation of things unknown that thrill me. I make my paintings as non-objective, visual experiences, chances to see something new, again and again.

“But we try to pretend, you see, that the external world exists altogether independently of us.”
–Alan Watts

“As far as men go, it is not what they are that interests me, but what they can become.”
–Jean-Paul Sartre

"He will essentially follow the language of the spectacle, for it is the only one he is familiar with."
- Guy Debord

Generally speaking, the focus of my creative and scholarly attention is to sort out the ways that people relate to one another. There are 3 distinct states within the human experience that I struggle to reconcile:

1. Mankind as an instinctual animal, directly connected to the earth with all of
its’ flora and fauna.

2. Mankind as an evolved, socially conscious being, that must consider both
the individual and the community at large.

3. Mankind as a fractured being, whose constant engagement within the
sociological environment of virtual technology and mass media inherently
separates him/her from their physiology.