SMAart Gallery & Studio was founded in September 2012 and opened its doors at 1045 Sutter Street in San Francisco.

SMAart offers gallery exhibits, studio rentals and ceramic classes.  While the center primarily caters to ceramic artists, artists of every media are welcome.  Founder Steven M Allen opened SMAart to fulfill a longtime dream of having a gallery, a place to teach art to the community, and a place to create art in a creative open environment surrounded by other inspiring artists.  

Conveniently located in the Lower Nob Hill neighborhood with access to several major bus lines.  SMAart is also positioned in the heart of the Lower Polk Art Walk offering participating artists access to a burgeoning art scene.

Story of a Comeback: In 2006, I was in a car accident and experienced chronic migraines. These subsequently lead to a diagnosis of fibromyalgia in 2009. At this time, it was as if I was caught in a long, dark tunnel. The tunnel was the dealing with the debilitating pain. I almost thought I wouldn’t be able to do art again.

 To my surprise, there were steps at the end of the tunnel that led to a new place. The first steps started by my working with fused glass. This was something I could work with because of the small and more easily contained nature of the work. I was finding meaning and new strength through the journey as I slowly made my way through the darkness. I found renewal and new energy because of the art that was finding its way back into my life.

The Color of Healing: Turquoise has always been a favorite color of mine. It seemed to always find its way into my art; turquoise glass, and touches of it here and there. It’s a strong color that I’ve always been attracted to. The fusion of blue and green color has always had to be a part of my work. It’s a feeling of centrality and balance. This old favorite became a symbol of the healing light, the healing touch and a force that kept me going through adversity. It’s like my life becomes right somehow when turquoise is present. It continues to find its way into my art, whether in a subtle hint of the color or as a strong and obvious presence.

The New: Paintings and Drawing: I began to work with my old figurative drawings as a way to get back into painting because with fibromyalgia, it was too painful to hold gourds. I realized I could paint easier and play with color. It was more pleasurable for me. One of the few things, I could still do was keep experimenting with acrylic inks, Luna-papers, ice [glitter], colored inks, color-changing nail enamel, acrylic paints, gloss gel medium, gel pens, and different sizes of glitter. In working with paintings and drawings, I start with color and move to the design. The patterns and textures come as I carefully follow wherever the color wants to take me. The colors of the paints and drawings reminded me that one can’t have light, happiness, and growth without pain and darkness. As I embraced and accepted the pain, I found a new light that brings joy as it dances before my eyes, upon the frames, on the walls in front of you. My vision is that these paintings and drawings may provide similar inspiration and lightness for other women who have worked with their own versions of healing and courage.

ABOUT ME     

My background is fairly diverse. I grew up with a WWII veteran father who was a radio operator during the war. With the classic DIY mentality of that age, my father built everything he thought up and as soon as I could hold a soldering iron, I was right there with him, grinning, watching the sparks fly and smoke come out.

Growing up I would spend hours every day making stuff up to build. Hacking and circuit-bending old surplus gear to the threshold of destruction, building something that held no “valuable” purpose other to satisfy my curiosity. Sometimes just to make smoke come out.

While I never completed any formal engineering training (electrical or otherwise) I taught myself what I needed to know to become a sound engineer, build and repair musical instruments, amplifiers and musician’s egos. This led me from Oregon to California in the mid seventies where many musicians roamed in need of such services. Not long after moving to San Francisco I joined forces with a partner, built a rehearsal/recording studio and shortly after was back on the road mixing live sound and rebuilding what was broken the night before.

Late in the eighties to gain some “consistency” and to “be home more often”, I took a swing at a “real” job which became another real job and so on and so forth until 2009 when a corporate stooge finally rubbed my last nerve. I pulled the plug and went back to making stuff up. I went back to school to learn welding, sculpture, metal arts, AutoCAD, Solid Works and I’m still going whenever I can.

MY WORK

Life seems overly complicated to me. It can conjure up vague, formless images as placeholders for ideas I don’t fully understand or care about. The work I create can go in any direction fleshing out these placeholders using any medium that suits my needs or is within arm’s reach. I often make jewelry, or giant fire breathing sculptures, or sound emitting objects, or things which either wave at or whistle with the wind. Occasionally I will explore an idea in different forms from small sculptures to painting to jewelry. Other times I will make a piece one way, one time only because it has satisfied my curiosity.

After many years as a scriptwriter and director, I began channeling my creative energies into my love of sculpture.  In doing so, I drew from my own subconscious and my interest in the worlds of archetypes, myths, and rituals to create both abstract and figurative pieces.  My figurative sculptures are not based on models, photographs, or actual persons.  Instead, like my abstract work, they arise from memory, imagination, my inner world, and a spontaneous interaction with a variety of materials. 

My primary materials are terra cotta and cement, although I frequently employ wood and various metals as well.  The forms created from these materials are typically covered with a rich textual surface that is often aged or distressed to convey an emotion and a connection that transcend time and culture to bring artist and viewer into a shared inner space.

My work has been described as elegant, yet also earthy and powerful.  It is imbued with a mythic, numinous, and archetypal awareness that comes directly from my process of creation.  My psychological and emotional state while I’m working are also strongly reflected in the sculptures.  Some express a calm, almost beatific sensibility.  Others display extreme disturbance and anguish.  Generally, it is only upon completion of an individual sculpture, or often a series of sculptures, that I’m able to tease out the meaning and significance for me personally.

However, regardless of the emotional impact, I seek a connection with the viewer.  Whether figurative or abstract, my ultimate goal is to have the viewer feel a sense of familiarity with the work...a sense of knowing, of understanding.  I believe this feeling of déjà vu arises from both a collective unconscious and a mystical center we all share.

I was inspired to photograph Crustaceans after finding containers of crabs, shells and bugs in my parents garage where they had been hidden and placed in jars for the last 53 years. I photographed the Crustaceans and made beautiful prints but I needed to take things a step further. Working with my hands has always been a love of mine - particularly working with beautiful woods, since I was sixteen years old and I apprenticed a master cabinetmaker. Recently, I've combined this love of creating beautiful objects with my career as a professional commercial photographer, in creating Photographic Cubes. Each cube is hand made and these measure 2ft x 2ft and house four archival photographic prints covering four of the six surfaces of each cube. The two remainder side show the ornate wood of the cube. Hence, the cubes can be viewed from any angle with varying effect. The cubes are self contained units and can be displayed in any number of ways including stacking them upon one another. They can be made in any size and configuration. I wanted the cubes to become their own entities and combining the sculptural with the photographic without taking away from the photography but adding to it and making it something new and alive.

I collect images and color stories.  Themes emerge and these give way to the next body of work.

I choose subjects for their sense of design and once the process is underway, it shifts toward something improvised.

My background is in textiles and illustration and I have always been curious to know how structural problems are solved. 

The purpose of my work is solely in its rendering so, rather than state its meaning, I invite the viewer's intepretation.

Jeff Snell's paintings unite traditional landscapes and popular culture as vigorous abstract rhythms. Working with brush and spray, Snell uses expressive gestures that incorporate a variety of forms found in nature and elements of urban flair. The organic qualities of his subjects exist in a fantastic world, where the natural position and order of the landscape is challenged in an unruly microcosm. His paintings radiate an energy and excitement that engage the viewer and offer a glimpse of nature's inner sanctum.

In this current series, I'm investigating environments from the imagination, thinking of these as glimpses of atmospheric forces mingling with eachother. Each canvas is a window into a bit of ordered chaos where nature is continually changing and the viewer is center stage to a swirling cosmos.