I pay close attention to the speed of change in my life. For me it happens at once too quickly and not fast enough. I learn about myself through what I make, photographing my experience of change. How it can be both universal and personal, or small and monumental.

So I photograph the things I want to hold onto and the reflected transitions of the people in my life every day. Mapping my experience through others. Photography gives me the language and the time to examine my ambivalence. Exploring these uncertainties gives importance to the transient as well as constant aspects of my life, and creates a constant dialogue, in my life and community, about the importance of the state of not knowing.

All of my work is one of a kind and emerges from my original photographs, taken close to home or during my travels around the world. The mix media process I use takes the photograph printed on paper as a basis over which I use collage assembly on canvas or wood as a means to bring to the fore one aspect: The feeling I had when I took it. The special detail that made me focus on the object. The beauty beneath. And most importantly the shapes and lines within each other that created that stoppable moment for me. Once the collage is complete I paint in and over objects to either enhance the subject of my focus or subdue and manipulate other surrounding images. It takes getting really close to my work to see all the details that go into creating one piece.

Jeff Klarin lives and works in Los Angeles as part of BUGHOUSE, an art and design studio creating limited edition artwork and furniture. Exploring and pushing the boundaries of conventional
fabrication and visual representation is what drives his creations.

Many of his mixed-media pieces utilize photography, painting, illustration and transfer techniques that create organic 'accidents' that unexpectedly alter and transform the creative process. Using recycled wood and found materials is a recurring methodology in his work.

Jeff has shown in both solo and group exhibitions in Japan and the US.
and has received extensive coverage in British and European publications. He is in the collections of numerous film and music industry professionals.

"The collective iconography of our modern culture can be used in visual representation to unite people to question how we interrelate and thus create commonality and compassion."

Born and raised in Portland Oregon. He graduated with a B.A. in Political Science from the University Of Oregon in 1980. In the summer of 1982 he became extremely stimulated from a visit to the New York Museum Of Modern Art and realized he was an artist. David moved to San Francisco and took various classes at the San Francisco Art institute over the next several years. McGraw is mainly known for large welded abstract figures. Lately, David has utilized mixed media including found objects to further his vision of Bauhaus inspired ‘” Total Art”.The artist lives and works in San Francisco and Sonoma County.

Many things in the world around me delight my visual sense. These entice me to create art as an expression of that appreciation. I try often to let the art take me where it wants to go. I often don't remember making the art when I see it again after a few months. Photographs integrate more fully with my direct life experience and document many of the things around me that capture my interest and hold some "beauty," in spite of, or in addition to, their generally perceived beauty or lack thereof.

Most of my art work is figurative and representational. My paintings are based in experiences which have had deep emotional impact on me. I am deeply inspired by images and colors of Mexico. I enjoy working with bright vivid colors in oil on canvas, in order to evoke a striking experience. While the images in my paintings seem more or less derived from nature they are not intended to be representations of ordinary everyday reality. As I paint, I continuously ponder the structure and concepts of my images in order to insure that they correspond to my sense of the experiences underlying them.

I make art to bring the feeling that I get from being outside, in the natural world, inside.



The paintings and sculptures I create are inspired by organic forms, science, and rhythms and patterns found in nature. My process is intuitve, leaving me open to the exhilaration of discovery. A common theme that surfaces in my work is a feeling of lightness and balance; a place of contemplation. The paintings and sculptures are calm, slow, quiet. Objects float. Lines meander. Color is either soft or minimal.



I am a scavenger, a seeker, a collector. During my daily walks in the natural world, my eyes are constantly on the lookout for ideas and objects to use in my work. Morning dew drops on a leaf. Rocks split in half by nature’s forces. Driftwood and stones lying on the beach. These are some of the things I use as fodder to create. Being in nature fills the deepest part of me. I feel alive - my senses heightened - yet at the same time, completely peaceful.



The tactile quality in my paintings and sculptures is achieved through a combination of deliberate experimentation, fortuitous accidents, and an understanding of the inherent qualities of the materials with which I work. Gravity, the resist between wax and water, the introduction of organic materials, and my own hand drawing, erasing or scratching back into the surface are some of the techniques used to create the range of textures found in the work. The excitement that comes from experimentation, exploration and discovery is one of the most salient reasons I’m drawn to create.



Consistent with compositions in nature whose quiet rhythms give pause, my paintings and sculptures aspire to evoke a similar response.

The provocative use of space has always been of interest to me whether it be found in architecture, graphics, landscape design or paintings. My recent body of work encompasses my observations of the landscape, especially the sculptural display I find in the winter months. Through these paintings, I've explored the spacial relationships between the positive and negative areas and have tried to create a feeling of depth by using many layers of transparent glazes. The resulting artworks are explorations of a 3 dimensional sense of space on a flat surface.