Myke Reilly is a San Francisco artist who creates bold and expressionistic modern abstract works. Reilly’s works are large scale, minimal in composition and rely on a limited color palette to explore depth of form.

In 1978, At the age of 16, Reilly moved to San Francisco where he attracted significant international success as a recording artist, sound designer, interior designer and digital media designer. He collaborated with many noted  artists of the period such as Tom Bonauro, Rex Ray and Charles Brown in the genres of sculpture, film making, and electronic sound installations. His dynamic sense of color and sound translated well into all forms of media and was supported by San Francisco's exploding high technology movement.

At the age of 50, Reilly returned to the easel and created a stunning collection of bold and expressionistic modern abstract paintings which drew immediate attention from interior designers and collectors on the West Coast. He now lives between Buenos Aires and San Francisco and dedicates his time and vision to creating large-scale paintings and interior murals for an art and design collective in San Francisco named The Happy Collective.

For information or inventory/price sheets call M Studio in San Francisco.
Tel: 415-297-7053
Email: [email protected]

I'm exploring the medium of oil painting, after doing sculpture for a while.  An engineer by day,  I'm working with volume and shape as well as bright colors.  I'm now exploring abstraction and cubism as takeoffs from my objective paintings, and did figures in a spring class.

I am a fine art photographer whose photogaphy is eclectic as it's sometimes traditional, sometimes modern, but almost always colorful!

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

Rinat Goren was born and raised in Israel. As long as she remembers she was observing and producing art.  However, only much later, when moved to California as an adult, she gave her urge a venue and became an artist. She found collage-making an appropriate medium to convey her values. Collage is a wonderful way to send an abstract message. Later on Rinat discovered the encaustic medium. It was the absolutely perfect medium for her collages. It gave her an opportunity to layer her collage, gave her depth and color.

Rinat is interested in subjects as 'the individual' and 'the individual vs. the group'. She expresses her love for people, freedom and liberty, boundaries and limits. She loves to express her values through the abstract of her collages using texture, color and depth.

She uses newspaper, images, strings, ropes and other materials in her encaustic collages.

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 :-)

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.