I tend to express my emotions with vibrant colors and through various muses, like fruit or pigeons. I often use or incorporate up-cycled items.  I soak up plenty walking through the streets of this city! In my art studio I work free spirited, wandering and exploring new mediums.  I play with little pockets of our world, you'll see.  Ciao! Jeremie

My work is representational. Below the surface of this quotidian subject matter, my concerns are with light, color, composition and spatial dynamics as well as the imagery itself. Drawing especially from the figure, is a basis for all my painting regardless of subject matter.

Never really knowing what the painting will look like, I approach the canvas spontaneously, looking to express the flood of stories in my head. I start by making marks of color upon color and line and try to follow along as the work evolves almost on it’s own.

I often feel like a writer in my process of finding the narrative and like to think of each painting as a song or a short story.  I “write” or paint using a visual vocabulary of everyday objects such as tables, chairs, beds, houses, fire, water and animals.

By communicating through these universal symbols and keeping the narrative open, I am inviting you to connect to your own experience.

I am often reluctant to tell my personal story of what inspired the work, as it is just that –inspiration.  I am more interested in the story it evokes.

Intentionally childlike, with bold bright colors, simplicity of form, imagination and directness I seek to capture the innocence and immediacy of the heart and move the viewer to relate intimately.

My paintings reflect my interest the built environment, and the interplay between city life, nature and infrastructure. My work is greatly influenced by my career as a landscape architect, where I learned to appreciate the overlap of history, topography, cultures, and industry that occurs in an urban environment. Responding to certain sites that might otherwise be overlooked, whether industrial areas, old streetcars, or the urban street, I want to capture the appeal and life of these settings with the vibrancy of colors that is my foundation. My paintings are a reflection on the underlying beauty of the places we see, and often don't see, in our world.

My Sweets series may seem to be a departure from my urban landscapes, but in many ways, I feel it is just a continuation of my exploration of patterns, colors, and the cultural diversity in urban life. Not to mention, a good excuse to indulge my sweet tooth!

My art is about reinterpreting my urban experience. I am inspired by the city’s diversity, and the juxtaposition of engineered and natural forms. My artistic process is a combination of photography, printmaking, drawing and painting. I snap photos while walking in a neighborhood, then overlay the images in search of visual connections. Through a series of hand-made marks and color choices, I transform the objective photographic images into a more personal sense of place.

I began painting in 1996. My background is in fashion and costume design, theatre, dance and interior design. I have taken extension classes in painting at the San Francisco Art Institue and City College of San Francisco, but I am primarily self-taught. Most of my work has been imaginary landscapes. These are informed by my childhood in Michigan, travels in the West, summers in Maine and more than thirty years living in Northern California. Since each piece is an archetype and not a specific place the viewer is able to invest it with their own memories. I am also influenced by my materials, texture, found objects and images. I have painted on found and abandoned books and done a series of portraits based on found photographs. I love exploring the emotional resonance of color, or lack thereof.

I work as a full-time artist and live both in San Francisco, California, and in Melbourne, Australia. My artwork has been offered by Cain Schulte Contemporary Art in Union Square, San Francisco, by Reaves Gallery in Chelsea, New York, and by Art Equity, in Sydney, Australia, and by Kenneth Paul Lesko Gallery in Cleveland, Ohio.

My paintings explore the contemporary self and its evolving sense of identity. I investigate the influences of pop-culture, marketing, and news media on social and individual motivation and behavior, and I question the plausibility of the authentic individual. Each painting is the result of a labor intensive process comprised of scavenging and collecting newspapers and media materials to use as collage backgrounds that form suggestive narratives for the over-laying figurative images I paint on top. Once the collage is created, the drawing and painting begins, and finally the piece is sealed in a thick coating of epoxy resin. In early 2011, my series "Upload," based on Great Britain's Machin Head stamp, was exhibited at the Melbourne Affordable Art Fair and enjoyed a sold-out show. My latest series, "Comic Relief," is a small series inspired by the TinTin comic and addresses a society's inclination to ignore the underlying social psychological patterns and behavior that threaten to destroy it.

Most exciting at the moment for me is my current series called the "Rx" series.  I have been working twoard this solo show for the past two years.  The 20 paintings that comprise this series will open November 21, 2014 at the Kenneth Paul Lesko Gallery.

michelle inouchi aka Joyce Guthrie is a third-generation painter who graduated from the San Francisco Art Institute in 1979 and has a West Coast following. The current series included herein (shown in sepia tones) is based on a year spent with Berbers on the edge of the Sahara desert in Morocco. Come check it out at 1890 Bryant, Studio 210. Remember, michelle inouchi

i like telling stories—girl meets boy; girl loses boy; girl wins boy back. or girl learns that heartbreak, like love, changes everything. i revel in the disturbance inherent to a good story, in the disequilibrium between two people, between many people. this unbalance brings drama, promises myriad moments of crisis where one thing becomes another. i believe we can accomplish more together than we can alone. community and collaboration are ecstatic occasions. both provide organic structure, boundaries composed by all players. these boundaries are something to fight and push against because we are all moving bodies of difference, of otherness. to work together is to grapple and, hopefully, come out the other side transformed. i am fascinated by relationships between people, objects, aesthetics, words. every artist is a collaborator because an art piece demands a viewer to be finished. the viewer is one of the basic building blocks in the making of meaning. in my process as an artist, as a social experimenter, i am interested in the journey from sender (artist) to receiver (viewer) and how the one can mean the other. making art, thinking about art, is fun. ecstatic. art is a place of incandescence even as it is heartbreaking, alienating, a vast landscape without a map. portrait by portraits to the people.