I am currently working on a two new series of paintings the first  endangered species of California and the second fantastic space aliens.  I am interested in texture and variety and contrast of ark through the use of many materiasl including gouache, screen printing, resin, spray paint, and pencil. 

Ali grew up in Ithaca and Brooklyn, NY and moved to San Francisco in 1995. She holds an MFA in Printmaking from Washington University in St. Louis, and a BFA in Painting from Cornell University. She works in printmaking, painting, and mixed. Recent exhibits include “Four Artists” at Ligne Roset, “The Day of the Dead” at the Legion of Honor, “The Eye of the Storm” at Markham Vineyards, and “Chicano Visions” at the De Young Museum. She has held artist residencies at the de Young Art Center in San Francisco and the Lower East Side Printshop in New York. Ali has taught at Drew high school since 1996. She has taught in a wide range of institutions including community centers, at risk youth summer programs, and special events and workshops at the de Young Museum and SFMOMA. She will be the artist in residence at the De Young Museum August 2010. There are several new bodies of work including small 8" x 8" encaustic wood panels inspired from dreams and childhood memories. The smaller pieces created this year reference Stonehenge and seasons. My favorite quality of encaustic is the transparency and layering that creates a sequenced narrative, a feeling of memory, and nostalgia. The beauty of this media is its unique translucency, spontaneity, and combination of printmaking, painting, and drawing techniques. Monprints are created by painting a plate with ink. A moist piece of paper is placed on top of the plate and rolled through an etching press which transfers the ink from the plate to the paper. Each color is a separate pass through the press. The characteristic of monoprinting is that no two prints are alike; although images can be similar, editioning is not possible. Also known as the most painterly method among the printmaking techniques, monoprints and monotypes are essentially printed paintings. The appeal of the monotype lies in the unique translucency that creates a quality of light very different from a painting on paper or a print, and the beauty of this media is also in its spontaneity and its combination of printmaking, painting and drawing mediums.

"Zamarrón is a graphic artist whose work has been presented in different media: web, television, video, print, as well as art galleries. He has exhibited his work both in Spain, the United States and Northern Europe. He was invited to participate in the annual contest at the prestigious “New Langton Arts” gallery in 1995, after he had just arrived to San Francisco. His early work had been featured in several individual and collective shows at Facultad de Bellas Artes of Madrid (Painting and Audiovisual Media), where he graduated in 1994. He has worked with Madrid’s Galería Gaudí on shows for international festivals. He was invited by the Spanish Consulate of San Francisco to represent Spain with his paintings at the emblematic Palace of Fine Arts. He participated in a collective exhibit at the prestigious 111 Minna Gallery. His last big (sold out) show was at Fort Mason Center, for Open Studios in 2010.

Currently, he alternates his work as an art educator at Holy Name of Jesus school with his professional activity as a portrait artist, while trying to do “new things” in
all that relates to the development of his body of work. Day by day, he continues with his studies in art, he is getting his MA, Masters of Art Education at Academy of Art University. He has also studied multimedia and art in California, at the universities of San Francisco State and Berkeley, respectively."

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My body of work reflects my latest explorations – of the deeper regions of my own psyche and also the world of abstraction.

My Portal series represents for me the very center of creating my paintings. It is the process of trying to achieve a landscape on which one's interior life can explore.

In my figurative work I access my imagination and dig deep inside of myself to excavate a figure that evokes emotion and has vitality. 

The figure emerges, disappears, and reappears - until finally I connect strongly with the image. From there, I build layers of paint, then dig back into them to reveal a texture or color underneath that adds beauty, depth, originality and elegance to the piece. 

A lot of my recent work has been about accessing the subconscious. 

It is the things that bring me inward that inspire me - rain, Dvorak's New World Symphony, Japanese incense and poetry. It is from that place that I create. 

In these photographic studies I am drawn to the organic structure, pattern and beauty of botanical subjects. Through lens manipulation my desire is to transcend the existing landscape and create new altered imagery evoking a meditative sense of place.

Often I'm asked what inspires me to create such colorful and eclectic paintings. Living in the Bay Area for most of my life as well as having lived in the Philippines during my childhood, has afforded me an unlimited stream of seemingly ordinary subjects from which I can bring to life on canvas.

Most of my work explores the diverse culture, objects, neighborhoods and landscapes that I see around me on a daily basis. My paintings fuse these images together along with a bold palate and unique perspective to convey the strength and intensity of my subjects.

I draw trees, branches, twigs, buds, leaves, tendrils, nests, reeds, weeds, stems, grasses, vines, and shrubs in charcoal, graphite, encaustic, and pastel. Lines entice, the spaces between beckon.

The process of painting is to me as important as the completion of a piece.  I feel that art in all its forms reflects man's searches, concerns, drives, strivings and feelings.  The artist, whether consciously or unconsciously, transmits or reflects this "pulse."  One of the major concerns of every individual is facing the unknown and the inexplicable.  My art deals with this encounter with the unknown, which at times can be exhilarating and exciting, but at other timers full of dread and anxiety.  I try to transmit the feeling that one sometimes has of almost grasping the illusive, that feeling of 'déja vu",  and the intense joy, even euphoria, of being alive.

Through the layering of dye, loose but emphatic brushstrokes, and a quest to convey sensuality though color and shape, I seek to express what is evocative, poetic and vibrant. I am drawn to organic lines and shapes, and also to intense and unusual color combinations that strike a deep, hidden chord with the senses and subconscious mind.

My inspiration comes from nature and my own spiritual exploration. I also draw from the textures, colors and earthiness of textiles, and fine crafts like pottery or blown glass. As a textile itself, my artwork (dye on silk) can come off the walls and into the living space – brightening up a lonely corner, visually separating two rooms, or billowing across a ceiling to soften and anchor the entire space. The effect on the emotional and design-scape can be dramatic.

My current body of work is painted on paper.  Paper allows for spontaneous revisions and a quick work pace—which frees me to take more risks with the paint.  The paint slides around the surface of the paper;  encouraging me to work quickly, limit revisions, and explore mark-making.  Paper is a versatile surface for experimentation on a large scale and is a receptive surface for different tools such as pigment sticks, transfer paper and pencil.   This combination of qualities gives the surface of the paintings a rich character and an “immediacy” to the marks. 

I do not work in a series.  Instead of being studies of a specific subject, the individual paintings link to each other like a chain.  Each painting is one moment in a spontaneous train of thought sparked by specific images, thoughts and questions.  The titles are very specific and chosen thoughtfully.  They are an important point of entry for the viewer as he explores the painting.