Steve began a career as machinist and worked in the machining trades until 2005.  This experience is reflected in his mechanical assemblage works and large chamber pieces.  His love for throwing pottery began in 1985 at the Salt Lake Art Center and for sculpting while an undergrad at San Francisco State University, 2001-05.  Steve received an MFA from San Francisco State University in 2008.  His ceramic sculpture can be found in many private and permanent collections including the de Young Museum, Ceramics Research Center, Lincoln Public Library and Salinas Public Library.  He is an award-winning sculptor and has shown his work nationally and internationally.  He creates a variety of artwork from functional pottery to complex sculptural installations.

As an adult I’ve continually been drawn to the forest. Studying and working as a Translator and Interpreter, I’ve visited 25 countries on 5 continents and during my travels, I’ve hiked the forests first and time permitting, I would then explore the cities.

My dream has always been to own a large parcel of land and spend my spare time planting trees to personally contribute to the reforestation of this beautiful planet.

What began as a very personal desire to experience nature has now become a campaign to bring attention to the plight of the deforestation and the damage that the activity is causing to this planet and its biosphere.

Shimmy's Beach is the name of my company, derived from many years of playing restaurant, store and the like with the name "Shimmy."  Shimmy’s Beach is a collection of items made from a variety of materials and inspirations from the Northern California Coast and Ocean Beach in San Francisco in particular. All of the items that are displayed are designed and made by Phylis Johnson-Silk.

My work is meant to stir the intellect and yet be meditative. My pieces are organic or biological in essence, looking like things one would see in nature.  Repetition of form is another theme seen in my work.  The scale of my sculptures range from the intimate to large-scale installations. Some artworks are ceramic paintings, ceramic forms attached to wood panels. Others sculptures are ceramic forms installed directly on the wall.   Most recently I am making freestanding sculptures as well.  My work is hand built, primarily using low fire clay and glazes. Form and color are important elements in my work. The seductive qualities of the ceramic medium of color and surface are used to attract the attention of the viewers so that they will spend time looking at the work, embarking on their individual journey of discovery.

For almost three decades Sharon Steuer has pioneered the merging of traditional and digital art forms. Sharon's recent work weaves together her oil paintings, drawings, digital paintings, photographs, and personal artifacts to explore and reflect fragmented memory. Awards for her artwork include the national Faber Birren Color Award, a Windsor Newton Painting award, and a Artist Fellowship Grant from the Connecticut Commission on the Arts. Her studio is in the 60-artist building Workspace Limited, studio 14a, 2150 Folsom Street (between 17th and 18th).

Sharon is also is an author who teaches how to use digital tools to create artwork in books (The Adobe Illustrator WOW! Books, Creative Thinking in Photoshop), videos (lynda.com/SharonSteuer), and as a regular contributor CreativePro.com.

Bio: Scientist by education, programmer by trade, artist by necessity, Mr Rogers has been creating art for most of his life. After spending 15 years as a photographer, both journalistic and artistic, he put away his camera in 2000 in favor of building, painting and creating art featuring Bunnymatic and friends. These characters have served as subject matter and inspiration for Mr Rogers to experiment with different media (including paint on canvas, wood sculpture, collage, recycled material constructions and more).

Most recently he's been focused on wall hanging sculptural pieces with wood, paint and other recycled materials.  

In my artwork, I am interested in expressing what I can't express easily in words. When I was younger, I was very interested in poetry and I feel that my interest in the visual arts comes from the same source, involving the construction of a kind of visual poem. Much of my work process is intuitive, or possesses intuitive elements within a rational framework. I am most interested in conveying a sense of energy, emotion, or an idea, through a form that may also have a planned and methodical basis.      Most recently, I've developed a series based on the forms and surfaces of icebergs.  Looking at photos of icebergs and glaciers, I was really surprised by the variations in different colors, surfaces and textures of the their forms. For example, striped or jade-green icebergs, plus the many uniquely shaped holes, tunnels, and cracks in their surfaces.  They looked quite sculptural and some brought to mind carved rocks or caves, while others were curvy and smooth, resembling sea creatures rising up out of the water and possessing a kind of poetic quality.  The works together convey a sense of interior versus exterior, support versus covering, and structure versus sensuousness.  Overall, my recent bodies of work are about birth and growth, variation among similar elements, the structure of natural forms, and a sense of communication and mystery in life. 

Cynthia Tom is a visual multi-media artist, passionate about social justice, women’s issues and playing with the accepted norm. Surrealism is the platform for her ideas to ruminate, take form, solutions discovered and color to inspire.

    A seeker and philosopher about issues in her life, her ancestors and the community of women, she is inspired by dialog with friends and family, forming new themes and stories for her work. Collaboration and brainstorming are her playgrounds.

    Her work has been exhibited at the Legion of Honor in San Francisco, the De Young Museum, and Yerba Buena Center for the Arts and various other galleries from New York to Washington to San Francisco. She lectures on her work, issues related to women, feminism in the arts and Asian American women in the arts, most recently for the College Art Association’s Annual Conference.

 Cynthia is included in the text book, “Women Artists of the American West”, edited by Susan Ressler, University of Purdue and “Traces of Migration and In-Betweeness: Poetics and Politics in Post-colonial Asian Women Artists”, by Laura Fantone PhD, SF Art Institute ,University of Padua Press, Italy.  Cynthia is currently Board President, Exhibitions Curator and Programs Chair of AAWAA, Asian American Women Artists Association.

    A third-generation Chinese American, Cynthia draws inspiration from divergent

cultures. The resulting contradictions are expressed in a variety of ways. Eastern and Western symbols often share space on the same canvas. Fanciful dresses portray a prophetic wish for people to raise their consciousness and her strong female images evoke a longing for freedom of expression and a life of choice.

    Symbols, cues and clues fill her art, which is described as “Cultural Surrealism”.

Cynthia’s paintings and installations persuade us to look beyond the aesthetic--to challenge stereotypes and traditional roles, questioning paradigms and

encourages our internal dialogue.

Living most of my life on or near the Pacific Ocean, the dramatic landscape of coastal California has become a doorway to inspiration for me:  the sweeping cliffs and tumbling waves, the linear horizon and the curved coastline, the textures and forms of rocks, sand and seashells -- these elements become the stylized lines and forms that give shape to my work.