My current photographic work comprises several different strains. I have shot a series of works in the ruins of Hunters Point Shipyard that depict the slow decay of the abandoned industrial site, and have published a book of these photos, Shiyard, Dust and Memories: Photographs of Hunters Point Shipyard.  This work represents the start of my return to photography using digital processes, after many years of work as a metal sculptor, work which I continue to explore.

My other major strain of photographic work involves shooting urban imagery in New York City and San Francisco. I seek to capture the fleeting moments of life in the city, the blink-of-an-eye capture that freezes a unique moment in time in the life of the city. Much of this work is processed as black and white imagery.

Aaron Vonk is a Canadian-American who lives and works in San Francisco. Aaron's art reflects his current outlook on life--sometimes it's dark and sometimes it's joyful and full of light. Aaron sees art as a way of life and has been drawing and sculpting since he was a child. He thinks in terms of images: Whenever he wants to describe or explain something, he grabs a pen and starts drawing to illustrate his meaning.

Formed from hundreds of individual pieces of wire, Kristine Mays has developed a way of expressing the human form through wire. 

"My artwork is about time, memory, and the emotions that are stirred when we pause and reflect. The work points to the soul and spirit, transporting the viewer into another place. It's about reconnecting to a deeper purpose - seeing beyond the stuff of the moment, beyond the superficial and into the being -- the soul and spirit of our lives. There are many dichotomies in my work. I transform hard rigid wire into soft flowing movement. I create the outer shell, the exterior of a human being, but provoke you to see what's within. With metal wire I have timelessly captured a fleeting moment that I hope will last for decades. As an artist I am very aware of the impermanence of life. Memories and the way we have loved one another far outweigh our status or possessions -- and yet sometimes a simple dress might trigger a memory from the past, allowing us to visit that which has imprinted our lives."

Kristine Mays has been an exhibiting artist since 1993. She has raised thousands of dollars for AIDS research through the sale of her work. Collectors of her work include an eclectic mix of people, with her work displayed in many Bay Area homes and private collections throughout the USA.

I believe in making the most of my hands, therefore I weave, knit or embroider. Being able to touch is very important to me and I love tactile items. I always encourage people to touch my work. I intertwine my energy of recycling/reusing with emotions, experiences, observations and conversations. Majority of the items I use, are gathered from various places, situations and people. My theory is, every discarded item has another use before it gets tossed into our over flowing landfills. With that theory, I see it as my responsibility to see items are reused, just as items are recycled in the blue bins. Depending in the mood or mode I am in, I'll weave, knit or embroider just about anything. I see many different possibilities in the future. I also, see many different possibilities in one item.

I am an assemblage artist.  I construct my art, often by building boxes containing "saved" bits of Americana:  an old toy, a broken gun, a worn baby shoe, a souvenir salt & pepper shaker that someone saved their whold life.  These "saved" objects tell stories about aspects of our American culture's history, a history many do not know.  Often this shared history includes poverty, racism, inferior roles for women, war and child abuse.  I weave a story about someone's life from these old objects to draw the viewer in to witness our contemporary culture's subconscious prejudices.

Several years ago, I began working primarily with the figure, mostly in the form of busts and heads. The early series has a particular personal energy: as a body of work, it feels quiet; there is a sense of stilled breath.

In the current work, this moment of quiet has become the focus. I have been using subtle gestures, specifically hand positions of holding and grasping, to explore the relationship of the body - our most direct experience of physical reality - to hidden, inner aspects of spirit and the world beyond physical.

Some of the figures have become quite understated; they take on a quality I think of as shadow, or ghost. The birds themselves, starting as only delicately visible, have begun taking flight away from the human form altogether, perhaps appearing in that moment when form separates from spirit.