Ramon’s Tailor is a former tailor shop that was transformed in July 2011 into a small, volunteer-run artists’ clubhouse and studio in the Tenderloin neighborhood of San Francisco.

The uniquely, intimate, subterranean studio is always open to interaction through a large vitrine window—stop by and see what we are up to.

I feel moved when sunlight touches an object in the afternoon and visualize the space around me. I walk out and wander around to observe shapes of shadows. I realize that shadows make spaces visible. I find myself in the spaces enjoying architecture delineated by sunlight. Buildings and their shadows are layered and blended together creating momentary beauty of colors and shapes. These scenes are temporary, and will change or disappear in the next moment. They are very precious because their occurrence is the unique combination of a place, sunlight, and the precise moment I happen upon the scene – like an eclipse. I spontaneously use photography to capture visual information like quick sketches. Camera documents specific moment of ever changing shapes and spaces. Although capturing the moment is quick, when I create works of art, I choose time-consuming autographical method in transferring information from the photograph. During the process of depicting information, I become involved deeply and identifying myself as a part of the space. I note that nothing is permanent and everything is constantly changing: light, cityscape and myself. I worked on printmaking for a long time. The printmaking process is reminiscent of the relationship between light and shadow. Etching and aquatint help me express my interest towards light and shadow by using rich tones of black and white. The graphic nature of black and white leads me to lines and shapes found in architectural elements. Once I eliminated color from my work, I found myself drawn to the exploration of space itself. My work became about the physicality of three-dimensional space.

Sirima Sataman is an interdisciplinary artist primarily working in traditional media, principally printmaking and sculpture. She studied sculpture, printmaking and fiber arts at the Claremont Colleges, the American University in Rome, Italy and Temple/Tyler University in Rome, Italy. She works and resides in San Francisco, California.

beauty,

art,

nature,

courage,

brilliant energy,

truth,

unexpected exchanges..

these things inspire me.

My process is stream of consciousness;
One color,
one form,
one line,
leading to the next.
I have no idea what the outcome will be.

This is fun.
It feels right.
I know that it is done.

~Sue Laurita

I spent over a decade years working as a Cell Biologist and am fascinated by complex systems, both evolved and designed. On one level my work explores the variety of relationships between form and function and challenges well-known connections between familiar objects by using them to create new forms and new functions. On another level my work examines the matrix of connections between intention and adaptation. Some of the permutations and chimeras I create may echo known biological or man made systems while others may create entirely novel systems that invite careful study. My art is influenced by my experiences both as a biologist and as a landscape designer and makes extensive use of plants and textures. Like a living cell, an organism, or a garden, each piece I create is an individual unit of function. The pieces often begin with a general concept or an interest in juxtaposing certain materials and they evolve through a combination of deliberate decisions and the unique adaptive properties of the materials.

Virginia Barrett is an artist drawn to capturing form and color in nature, landscapes and sculptural work from diverse cultures. Her series of mixed media painted poems celebrate a unique, spiritual relationship between the word and image. She is a published poet and author; her most recent books are Mbira Maker Blues—a healing journey to Zimbabwe and Radiance—poems from Mendocino. Her illustrations grace both books.

Rick's work is inspired by mythology, cryptozoology, horror films, and pop culture. He is currently developing three bodies of work: "Bestiarum vocabulum," "Alone in the Dark," and "Tsukumogami."

"Beastiarum vocabulum," or "Book of the Beasts," is Rick's personal bestiary - a collection of creatures spawned from mythology of various cultures, urban legends, and the dark recesses of his own mind. As Rick "just likes to paint monsters," these creations come from someplace deep, raw, and primal, his own personal expression of the edgier sanctums of raw emotion, sexuality, dark humor, and death. As these darker subjects are sometimes difficult to bring to light in casual conversation, we tend to try our hand at humor as a vehicle to soften the blow. In the same manner, Rick infuses his beasts with often humorous backstories and comical descriptions, complicating our view of these beings of the dark as purely "evil" or "scary."

"Alone in the Dark" is Rick's exploration of the idea of fear and the horror genre. Often, the most disturbing and horrific thoughts and images come from our own head - what we imagine that happens off the movie screen or between the panels of comics is personal and terrible. Rick believes that good stories are always going to be the most terrifying (as opposed to film or images). By allowing the viewer to look into these portraits of people alone in the dark, it is up to the viewer to imagine exactly what the person in the painting is fearful of.

"Tsukumogami" is the general name for handcrafted Japanese items that have gained a soul after 100 years of existence. Just as Japanese mythology breathes life into ancient artifacts, Rick gives everyday inanimate objects a life of their own. He provides a humorous, often brutally honest look into everyday life using colloquialisms, puns, innuendos, and plays of the English language. Just as the descriptions of his beasts soften the blow, by removing the human element and replacing it with inanimate objects, Rick leaves the viewer with an objective phrase that immediately becomes subjective in the viewer's own mind.

Each person experiences the world in their own way, making truth subjective. My artwork is a visual representation of my truth, through my eyes and experiences. The pieces all start off with an initial idea but always grow into whatever they were meant to be. I don't attempt to depict the world as we see it. My work is about letting my little intrigues tempt you into my world of lies.