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Artworks for sale
2024 art gala
39"x33" - $1,500
Structural Weaving with Various Fibers
The year of the dragon
By Doerte Weber
This artwork transcends traditional mediums, ingeniously weaving together diverse materials to breathe life into a captivating dragon. The weaver incorporated a range of elements, including plastic bags sourced from newspapers and dry cleaner bags, luxurious silk ribbon, and soft cotton. The contrast between the dark backdrop and the vibrant, textured materials creates a visually striking effect, allowing the dragon to command attention with its dynamicpresence. The Year of the Dragon invites contemplation on the intersection of sustainability, creativity, and mythology. The use of unconventional materials serves as a metaphor for transformation and the power of imagination to breathe life into the most unexpected forms. This artwork is a celebration of diversity, both in materials and in the mythicalcreature it brings to life in this weaving.
Doerte Weber was born in 1962 in Blender, Germany where she earned a degree in social pedagogy. After a few years of traveling and living in Asia and England, she moved to Texas in 1986. Although she took several years of weaving classes at the Southwest School of Art in the early 1990s, she didn’t start weaving artwork until she returned from a visit to the Bauhaus Exhibit in Berlin in 2009. She found herself inspired by the women who entered the Bauhaus Community thinking they would produce art like the men, using glass, metal and all the media we associate with the Bauhaus period. Instead, having been persuaded into weaving and teaching themselves the craft, these women honed that skill, creating beautiful and unique works of art. Weber is a mostly self-taught artist who weaves with diverse, modern, quotidian materials. Searching for what quietly exists in our daily surroundings, she transforms those often overlooked materials into works of art which demand attention. Her pieces utilize traditional weaving patterns, which provide texture to conventionally flat surfaces and give an assurance of familiarity and connection to our history. Inspiration for her artwork comes from her travels, current events, and her environment. She strives to create something which seizes the moment and transforms it through medium and connection. Doerte Weber's work has been exhibited nationally and internationally and can be found in private as well as public collections.
18"x18" - $2,000
Handmade Paper
Tiny quilt #4
By Casey Galloway
This piece is the latest in a series that has been in the works for many years. I have a strong interest in quilts, quilt making, the makers and their histories. These tiny paper quilts are a meditation on my research and thoughts about quilts. They are created with handmade paper that is dyed in the paper making process, then cut into simple shapes used often in quilts and arranged on boards.
Casey Galloway is the Fiber Department Coordinator at UTSA. She teaches advanced weaving and dyeing classes. Her studio work mainly consists of dyeing yarns and fabrics, hand weaving and paper collage with focuses on themes of reduction of information, systems that create unpredictable outcomes and most currently the creation of family.
48"x42" - $6,200
Handmade Paper Made of Kozo, Gampi and Abaca Plant Fibers
section
By Lata Gedala
Simple yet complex, the artwork “Section.” is made with fibers from Kozo, Gampi, and Abaca plants. Kozo and Gampi are eastern fibers from the Mulberry family, and Abaca, a western fiber derived from the banana plant. These are sustainable and fastgrowing, making these plants environmentally friendly. The paper produced from these fibers appears delicate yet possesses deceptive strength due to the very strong and hard-to-tear nature of the material. The handmade papermaking process, akin to cooking, involves combining ingredients to create something greater than the sum of its parts. This method fosters an artistic means of expression in my work, depicting the cell structure of plants in a manner that transcends naked-eye perception. The grid usage within the sheets symbolizes the rigid, tight organization of plant cells. Despite the laborious effort required, the outcome is profoundly gratifying—it’s a labor of love, where the fiber iscooked, cleaned, pounded with hand for hours, and then transformed into paper. “Section,” reflects the complex interplay of simple aesthetics, shape, and allure. Each section represents the diverse roles we embody, highlighting the characteristics of motherhood—seemingly simple yet intricately complex in creation, and fragile in appearance but known for strength, much like a woman’s resilience. I view this piece as an extension of myself, illustrating the essence of my identity and the roles I fulfill daily in my life, my children’s lives, and within society. The compartmentalization of my work and its sections serve as reminders of these roles, showcasing the strength and complexity inherent in both the fibers and the feminine spirit.
Lata Gedala is a visual artist and a hand papermaker. Her concern for the environment encourages her to practice sustainable form of art making. This includes using plant materials for making paper and adopting non-toxic printmaking methods. She was born and raised in India, where traveling was a big part of her formative years. Most of her childhood she lived amidst nature. This influenced her admiration and appreciation towards environment. She has a Bachelor’s in Science with an emphasis in Botany & Zoology. Emigrating to the US opened the doors for her in the field of Arts. She earned an Associate's Degree in Visual Arts with highest honors at Westchester Community College, New York and a Bachelor’s in Fine Arts with Summa Cum Laude from UTSA/Southwest with an emphasis in hand papermaking, photography and printmaking. Raised in a culture where art is considered only a hobby, her intent is to make art with a sense of purpose. Lata’s work is represented in many private collections and has been exhibited in juried shows in New York, Philadelphia, Atlanta, Maryland, Hyattsville, MD, Victoria, San Antonio and Florence, Italy. She is a member of the International Association of Hand Papermakers and Paper Artists (IAPMA) and North American Hand Papermakers.
12"x18" - $3,700
Gouache and Gansai on Woodblock Print
eight years' worth of cherry Blossoms
By Hiromi Stringer
The woodblock print bookpage used in this work is from an elementary school science textbook published by Shuei-do in 1891. Since, unlike Roman alphabet, there are myriads of characters in Japanese, back then, it was still reasonable to create woodblock prints for bookpages rather than using a letter press or other printing methods. Books were made out of handmade prints. Someone more than 100 years ago actually carved out all the detailed design of the writing, borders and the illustration on a piece of wood. The unknown carver carefully mimicking original ink brush strokes on each letter as well as hair-thin lines in illustrations. It is not unusual to find woodblock print lines as detailed as 5 lines in a mere 0.08 inch (0.2mm) width. It was the carvers’ pride to show off their skill in their creation, even in an elementary school textbook. This body of work is about encounter and collaboration, between the unknown carver and me, between the subject matter of the bookpage and the carver, and between the subject matter of the bookpage and subject matter of my work. One rule I assigned to myself to create this work was, “do not paint over the anonymous carver’s line” my way of showing respect to them, the unknown carver.
Hiromi Stringer is a US-based Japanese artist. Currently, she is a Senior Lecturer of drawing, painting and interdisciplinary art at the University of Texas at San Antonio. Stringer received multiple awards including the 2019-2020 Dedalus Foundation Master of Fine Arts Fellowship, the 2022 Dedalus Foundation Funds for Past fellows and Awardees, a grand prize for Eyes Got It!2014, the 2019-2020 Blue Star Contemporary Berlin Residency Program/ Künstlerhaus Bethanien International Studio Program, Berlin, Germany, the 2021 Summer Arts Faculty Residency program at Ox-Bow School of Art & Artists’ Residency, Saugatuck, MI and the 2024 Vermont Studio Center residency, Johnson, VT. A resident of the San Antonio area, her works are in public, corporate and private collections in Japan and the US.
30"x24" - $1,100
Photography
THE GLOW OF YOUR FACE
By Ramin Samandari
This image is part of a series titled “In Search Of the Beloved”. The series was inspired by the poems of 12th century Persian poet, Rumi. Rumi was known as a mystic, Sufi poet who wrote about love (earthly and spiritually), compassion and the search for the essence of that which makes us human. The images in the series are done using a 4”x5” view camera with a special Polaroid film(now extinct) and a process of emulsion transfer. The texts which are excerpts from Rumi’s poems, were written and scanned separately and layered onto the image.
Ramin Samandari is an Iranian-born photographer. He arrived in Odessa, Texas in 1978 at age 17, sent there by his parents in the midst of the Iranian revolution. At the time he thought he might return to his homeland in a few years with a medical degree, but then the Iran-Iraq War broke out, so he renewed his U.S. visa, eventually got a green card, and in 1990 became a U.S. citizen. A resident of San Antonio since 1988, he decided in the early '90s to pursue his lifelong passion of photography. Throughout the '90s, he exhibited mostly in nontraditional venues in San Antonio and Austin. Between 2000 and 2001, he had several solo exhibitions at the University of Incarnate Word's Center for Spirituality, the Guadalupe Cultural Arts Center, Carver Cultural Art Center, and the San Antonio Museum of Art. His work has been exhibited at The Blue Star Contemporary Art Museum, UTSA gallery, Southwest School of Art, Artpace, City of San Antonio Department of Culture and Creative Development and many private galleries. His work is in the permanent collection at San Antonio Museum of Art, University of Texas at San Antonio, The Tobin Center for the Performing Art and Institute of Texan Cultures. In 2023, he was selected as Artist of the Year by San Antonio Art League and Museum.
18"x24" - $5,000
Acrylic
THE conception
By Romelette Metz
Motherhood is the purest form of love, nurture and compassion. It is the bravest thing a woman shall endure and must embrace regardless if conceiving a child is intentional or unexpected. Conception comes with trust, responsibility, dedication, and hope. It is a beginning of a new life as a woman’s life will shift and her true strength and courage will be discov-ered. The mixture of white and red colors is a sign of good health and symbolizes success and happiness. It’s a woman’s most important duty to bring and rear children into the world. Motherhood consists of three principal attributes or qualities: namely, (1) the power to bear, (2) the ability to rear, (3) the gift to love.
Romelette Metz started drawing as soon as she could hold a pencil at the age of 3. Her mother said they found out art kept Romelette from bothering them. In Kindergarten, she started playing with watercolors and she first used acrylic paints when she was 14. At age 19, she was trained by her uncle, Ramon Dela Cerna, Jr., an artist by profession. Romelette Metz came from humble beginnings, born and raised in the Philippines. Her parents are Romeo and Juliet and they named her Romelette. She migrated to the U.S. in December 2004. She was a student at the University of the Incarnate Word majoring in nursing (non-graduate) and took art courses to help her decompress and overcome challenges in life. She was a working mother and pursuing school full time). In 2010, she started her business, Fil-Am World Magazine, a publishing and advertising company, specializing in promoting businesses and cultures. Romelette’s artworks were displayed in multiple art shows in Texas, Washington, Oregon, and California. She has been commissioned to do art by dignitaries and celebrities. Romelette is involved in various charities and humanitarian missions and non-profit organizations. She has engaged in social and political activities and hosted business and community events such as art shows, and concerts.
20"x20" - $1,700
Handmade Paper with Screenprint Pulp Etching Repurposed Plastic
cross section of the dig
By Margaret Craig
This piece thinks about what gets left behind and what's in the ground. There are biologicals like roots and hyphae, but also trash from humans, from architectural remains to broken lighters. Since humans leave so much plastic waste behind, nature is incorporating that into the ecosystem. From that develop alternative evolutions, as seen by the strange plastic flowers growing from the surface.
Margaret Craig received a degree in Biology Secondary Education, a BS in Art and an MA in Painting from the University of Wisconsin, Madison. She received an MFA in Printmaking from the University of Texas at San Antonio. An innovator in printmaking techniques, she invented Tar Gel Pressless Etching. She is included in many public and private collections including the Library of Congress. She is Professor Emeritus of Printmaking and Paper at the Southwest School of Art in San Antonio, TX. She has one husband, one bird, five cats, one spastic puppy, and a mess of grown stepchildren. Her original college degree in biology has been a major influence in both the visual and ecological context of her work. The work is rooted in the symbiotic ecostructure we all precariously live in, and involves an elaborate, possibly excessive, process that (re)cycles the original post-consumer paper and plastic through several art forms and media, including acrylic, watercolor, printmaking, papermaking and installation sculpture.
36"x36" - $7,200
Acrylic on Canvas
Silent witness
By Joey Fauerso
The painting 'Silent Witness' was made in 2022 and included in Fauerso's solo show 'I Wish I Had a River' at the Galveston Art Center in 2023. The title 'Silent Witness' is taken from a song written by Fauerso's father. Inspired by many personal and historical sources including the mosaic murals of Pompeii, Fauerso's painting evokes the coexistence of opposites. The still and unchanging expanse of the ocean's horizon is contrasted by the border depicting a stylized procession of crawling women and dogs. The artwork was made using Fauerso's distinctive painting method, which uses various nontraditional squeegees and other tools to scrape and subtract paint from the surface of the canvas.
Joey Fauerso is an artist and 2022 Guggenheim Fellow in the Fine Arts and the recipient of the 2023 Presidential Seminar Award from Texas State University. Her work consists mostly of painting, video, installation and performance addressing issues of gender, humor and family. Recently her work has been exhibited at the Visual Arts Center at the University of Texas, the Galveston Art Center, Western Exhibitions Gallery, Bemis Center for Contemporary Art, MASS MoCA, Crystal Bridges Museum of American Art, the Drawing Center in New York, and New Mexico State University Art Museum. Fauerso has been the recipient of multiple grants and residencies, including a 2022 Guggenheim Fellowship, a 2020 Joan Mitchell Grant for Painters and Sculptors, a 2021 Sustainable Arts Foundation grant, the Open Sessions residency at The Drawing Center in New York, the Golden Foundation Grant, Dallas Museum of Art Kimberough Grant, the RAIR artist in residence grant, Yaddo, MacDowell, and Kunstlerhaus Bethanien in Berlin. Fauerso’s work is in the collections of the Blanton Museum of Art, the McNay Museum of Art, the San Antonio Museum of Art, Ruby City Museum, New Mexico State University Museum of Art Frost Bank Collection, and many other private and public collections. Fauerso is a Professor in the School of Art and Design at Texas State University, and lives with her family in San Antonio, Texas.
16"x19" - $1,000
Acrylic on Salvaged Board
denver downtown
By Paula Cox
Denver Downtown is an example of my new work using acrylics on repurposed surfaces. I have returned to painting in recent years as a result of my lifestyle becoming more mobile. I record my surroundings in journals and quick watercolor studies. Some of those studies become more developed paintings. I visit Denver often and have aresidence there. On this particular day I was an art exhibit in a downtown highrise building and the outside view caught my eye.
Paula Cox is a native Texan from the west Texas city of Odessa. She received her undergraduate Degree in Art from the University of Arkansas, Fayetteville and did post-graduate work at the University of Texas of the Permian Basin in Odessa. Paula moved to San Antonio from the Texas HIll Country in 2002. She has been a studio artist at the Southwest School of Art in San Antonio since then. Her work was included in the 2004 Arthouse New Work in Austin, the 2009 Texas Bienniel and published in "Art at our Doorstep", a book of San Antonio artists & writers by Trinity University Press. Most recently, Paula had a site specific artwork installed at the Robert B. Green downtown campus/University Health Systems in San Antonio. Her work has been shown in local galleries and shows across the country.
18"x24" - $350
Nonoprint on Handmade Kozo Paper
designer corn #1
By Susan Mackin Dolan
This monoprint is from an ongoing series that uses emblematic images to portray intrinsic qualities of natural forms ranging from DNA to sand, corn and trees. This print focuses on corn or maize, which has historically undergone one of the most dramatic alterations in plant genetics starting from a wild grass called teosinte to today’s genetically modified mono crops. This paper is traditionally made from japanese kozo and gampi fibers, which are cooked, pounded, pigmented and used to stencil various patterns that are integral to the finished sheet of paper and the printed image it will receive. Woodcut and linocut blocks are carved and then printed on the papers.
Susan Mackin Dolan was born in a small town in Maine near the northern end of the Appalachian Trail. She received her MFA at the University of Colorado Boulder, in printmaking and papermaking. In 1984 she helped establish the first papermaking studio in south Texas, Picante Papers, at the Southwest School of Art in San Antonio and was the original Chairperson. She has been an artist and educator for over 40 years and has taught and had artist residencies at many colleges, universities, and art centers including: University of Colorado, University of Oregon, Colorado Mountain College, West Texas State, Haystack Mountain School and Oxbow School of Art. Her work is in many important collections including: Robert C Williams Paper Museum, Georgia Institute of Technology, Atlanta, Georgia, California College of the Arts, Meyer Library, San Francisco, National Library of New Zealand, Wellington, Cooper Union, New York, Smith College and Wellesley College Libraries, Institute of Paper Science & Technology in Atlanta, Georgia, Library of Congress, Rare Books & Special Collections, Washington D.C. , Biblioteque Nationale de France, Paris, France, Metropolitan Museum of Art, Watson Library, New York, NY. Her work has been shown in exhibitions nationally and internationally including: Collaborative Vision: Poetic Dialogue Project, Chicago Cultural Center (traveling), Aware of Other Angles, Paper Press, Chicago, International Triennial of Graphic Arts, Manes Gallery, Prague, New Directions in Paper, Mendocino Art Center, Mendocino, CA, Real Life International, Soho 20 Gallery, New York, NY, BIMPE Biennial, Vancouver, British Columbia, Canada, Innovative Printmaking on Handmade Paper, Robert C. Williams American Museum of Papermaking, Georgia Tech, Atlanta, GA, Single Impressions, Mesa Art Center, Mesa, Arizona, Miniare Biennale Internationale de Montreal, Montreal, Canada, 6th Texas Sculpture Symposium, Blue Star Art Space, San Antonio, TX, New Texas Prints, Diverse Works Gallery, Houston TX, On, Of, With Paper, Cummings Art Center, Connecticut College, New London, CT, Paperworks Mountain West Biennial, Nora Eccles Harrison Museum, Logan, UT Numerous articles have been written about her work and it has been published in books including: 1,000 Artists' Books: Exploring the Book as Art, Quarry Books, The Best of Printmaking: An International Collection, Rockport Publishing, Basic Printmaking techniques, Davis Publishing, The Art of Papercraft, Storey Publishing.
23"x31" - $800
Cyanotype on Cotton
slicing a silver tongue
By Sarah Fox
This piece was created in response to the legislation that strips women of the right to choose when and if they decide to have children. The cat represents the slick tongued politician. I imagined a group of women warriors fighting back against the attempts to control them. The bunny figure in my work serves as a sort of rowdy anti-hero; outspoken, angry and ruthless. Doing drawings of her during times when I feel powerless, helps me feel brave enough to speak up.
Sarah Fox’s multi-media narratives and characters are created from embodied female experience. Stories of life, loss, sex and love are told through corporeal hybrid creatures. The resulting drawings, cyanotypes, and animations suggest a childlike fairytale but with an undercurrent of dark symbolism. Her work has been shown throughout Texas, as well as in the Kinsey Institute (Bloomington, Indiana), Field Projects Gallery (New York, New York), Espacio Dörffi (Lanzarote, Canary Islands), Casa Lu (Mexico City), and Darmstädter Sezession, (Darmstadt, Germany). In 2019 she was a recipient of a Sustainable Arts Foundation grant that allowed her to live and work at the Women’s Studio Workshop in NY with her son. She received an Individual Artist Grant from the City of San Antonio in 2021. Fox lives and works in San Antonio, Texas with her 5-year old son. She teaches at Texas State University and runs the summer Nature of Art Camp for young artists at Confluence Park.
21"x27" - $700
Woodcut
what does the crazy fish do?
By Gary Sweeney
My entire art career can be summed up with two words: “Humor”, and “Language”. This is a four-color woodcut print of a fish (I hope that’s obvious), and I included a pun in Spanish. The question, is Spanish is: “What does the lazy fish do?” The answer is “NADA”, which translates into both “Nothing”, an the word, “It swims.”
Gary Sweeney has established a body of artwork that is “as diverse in its media and presentation as it is singular in its wit and intelligence.” Sweeney was born into the fertile artistic climate of 1950s Southern California, and both his father and grandmother were artists. He graduated in 1975 with a degree in Fine Arts from UC Irvine, which was then a hotbed of Conceptualism and Post- minimalism. To support his art making, which includes photography, painting and sculpting - resulting in a body of work ranging from neon signs, billboards and murals to rug making, book art, and video - Sweeney took a job as a baggage handler for Continental Airlines, from which he recently retired after thirty-five years; it provided steady income, insurance, and low-cost air travel. After Sweeney transferred to Denver in 1982, he became an active member of the local .alternative art scene. Shortly after, his art began focusing on personal experiences, especially in the frequent family vacations of his youth. During that time, he took hundreds of snapshots of family and tourist destinations, which later found their way, appropriately captioned, onto large hand-tinted maps, or, greatly enlarged, onto billboards. He also poured over family albums, From old photographs he created one series of work about his father’s experiences as a police detective, and another about his parents’ vacations “before the kids came along.” Sweeney’s most recent and ambitious project to date took place in February. After selling the family house in Manhattan Beach, Gary took occupancy of the empty building and covered the exterior with enlarged family photos spanning the seventy years of Sweeney history. The installation drew thousands of visitors, and was featured nationally and internationally in press and video. Gary Sweeney’s humor is especially apparent in his public artwork scattered throughout the United States, most notably in Denver International Airport, San Antonio International Airport, The Green in Charlotte, North Carolina, and The Esplanade on Navigation in Houston, Texas. Though he and his wife now live in San Antonio, Texas, he remains, as one critic put it, “one of those rare artists who possesses both the necessary skill to create stylish work and the wit and intelligence to give substance to it.”
30"x24" - $1,200
Large Format Photograph
Analog Matte #186
By Charlie Kitchen
My work utilizes the large format photographic process to examine the inherent qualities of camera-based representation; primarily the medium’s ability to record space, light, and time. Through an in-camera masking technique, the large format negative becomes a surface upon which light can be manipulated and collaged, intentionally exposing only portions of the film through each opening of the shutter. By deliberately deconstructing and rearranging the 4x5 process, I’m able to explore the depiction of space within the image plane, interject handmade marks and brush strokes, and experiment with the ways in which these aesthetics can be translated through photographic representation. The medium of photography offers an inherent truth to which I find myself attracted, and the creation of work that distorts this notion provides the motivation behind my practice.
Charlie Kitchen is a San Antonio native Charlie Kitchen born in 1991 and received his BFA from Texas State University in San Marcos in 2014 and has worked at Artpace San Antonio as Studio Manager from 2015-2021. He now independently contracts, providing fine art services and making artwork. He has held solo exhibitions in San Antonio, Houston, and internationally in Amsterdam, The Netherlands.
13"x13" - $300
Archival Ink on Bristol
Grey Fox
By Hilary Rochow
My work is as much about observation and my own method of building emotionally vulnerable relationships as it is about the botanical and animal subject matter I choose. I’m someone who is extremely detailoriented, and I spend many of my allotted life minutes carefully observing the world around me. My hope in creating is that I can encourage a thoughtful way of looking within my audience, and that my work can help forge an emotional connection between human and nature. We are not so disparate, after all, being more so animals in systems of animals than something that exists outside of the natural world.
Hilary Rochow is a multidisciplinary artist and designer living and working in San Antonio, Texas. She holds a Bachelors of Industrial Design from Auburn University. Her formal training in design informs her understanding of visual cognition, which she employs in the detail of her ceramic sculptural works as well as in her illustrations of impactful figures in black ink on clean backgrounds. Her lifelong adoration of the natural world weaves its way into her choice of animal and plant subjects. Her drawings have been published in Passage, an online arts publication based in Dallas. She has shown work at multiple galleries including Flax Gallery, Space C7, Mercury Project, and FL! GHT. She also operates a gallery, Rojo, and a studio in the Southtown Arts District.
18"x21" - $1,700
Lithograph and Thread
on their backs
By Kim Bishop
You go through this whole life marching for change—trying to change things and then the aftershock slaps you in the face when you realize you’re right back where you started, or so you think. According to Carl Jung, we live in the entanglement of the past, present and future; a collective consciousness he called “a sympathy for all things.” This is why I draw with my Grandmother’s thread. Here my lithograph drawings and my Grandmother’s thread focus on the entanglement of body, time, movement and the physical world which carries a universal theme of quantum remembrance and grounds me in my past and collective experience of my ancestors stored in the thread of my DNA. It comforts me to remember and reminds me that I am not alone. The value of those who came before me are not lost because I carry them forward.
Kim Bishop is a nationally exhibited artist who has been working from her San Antonio, Texas, based studio for the past 20 years. Bishop holds a Master of Fine Art in Contemporary Drawing and Painting from the University of Texas at San Antonio, a Master of Arts in Education and a Bachelor of Fine Arts in Communication Arts from Texas State University in San Marcos, Texas. Her work is part of many private collections as well as the collections of the University of Texas San Antonio, Texas A&M Kingsville, the San Antonio Public Library, the Oxbow Tower and the Pearl Brewery. Her work can also be seen on the streets of San Antonio at several bus stops, as mural installations in the neighborhoods and across Texas in the 2020 U.S. Census Bureau billboards. Her latest public art piece is Poet’s Pointe, a pocket park in San Antonio that she designed with her partner Luis Valderas, opened to the community in June of 2023. Bishop is a co-founder of A3, a pop-up industrial street press, 3rd Space Art Gallery and is a mentor for the New York Foundation for the Arts Immigrant Artist program. She is working as a co-writer for the first Chican@ art curriculum book sponsored by the Department of Education and Centro Cultural Aztlan set to launch in 2024. Her mission is to socially engage audiences in the process of art making to create a healthier world. With over thirty six years of art education experience she is currently the Teen Programs Coordinator for the UTSA Professional and Continuing Education Department at the UTSA Southwest Campus, and is an adjunct professor of Drawing and Visual Culture at the UTSA.
24"x24" - $2,400
Dye Sublimation Print on a Aluminum
aa 2408 - over california
By Stuart Allen
The prints in this series started as photographs taken with my phone through the windows of airplanes. From 35,000 feet you can see the curvature of the Earth, the tops of clouds, brilliant sunrises and sunsets, and the intensely deep blue as the air thins toward outer space. The original snapshots aren’t very good by any technical measure, they were taken with a phone after all. But there is something valuable in all of that color data - millions of pixels, a record of light just like a ‘real’ photograph taken with a camera that doesn’t make calls. I then applied an algorithm that breaks down these snapshots into grids of small dots, similar to a half-tone pattern, but different because the original color values are retained. What remains is a record of light, specifically the color of atmospheric light. The titles are the airline flight numbers and the place and time where the snapshot was taken.
17.8"x13.7" - $1,036
Rattan, Mulberry, Plaster, Pigment
untitled
By Tomomi Hanzawa
Tomomi Hanzawa is Artist. Born 1988 in Tochigi. Lives and works in Tokyo. B.F.A., Sculpture Course, Joshibi University of art and design in 2010. Recipient of a Pola Art Foundation Grant for Overseas Study by Y oung Artists in 2018. She was a visiting artist and took the tr aining in the paper studio in the SouthWest School of Art in San Antonio, Texas ,and She researched about papermaking in some parts of United States, Mexico and Canada. In her work with paper , she considers identity and the state of the self. Paper always gives her an incentive. Paper is the structure of intertwined fibers. There is a fact that paper has been made in various places around the world in diffe rent ways according to the environment and it has been developed for various purposes. Considering this fact, we can say that paper itself can be already considered as an object including our human story in itself. She unravels the story and superimpose it with "now" by tracing the paper structure and pr ocess, and questioning its origins.
16"x12" - $1,500
Drawing on Paper
The king
By Rex Hausman
This drawing was created on site where in 1660, King Louis XIV the “The Sun King” married a Spanish princess, Maria-Theresa of Austria. The royal wedding in Saint Jean de Luz was part of the Treaty of the Pyrenees. This peace agreement between France and Spain marked an end to decades of fighting. I sat in a pew drawing, soaking in all the history, the space and the light. We walked to a small bakery where they had been making the same cookies since the wedding, eating a cookie that has been made, since 1660! We led a group of 9 travelers from San Antonio to Spain for an adventure we will never forget.
21"x20" - $1,800
Mixed Media on Paper
Texas roadside
By Paula Owen
"Texas Roadside" is a reflection of Owen's fascination with the natural world, especially its unruly beauty. She approaches the subject matter with both precision and free expression, starting with a quick graphite drawing from memory followed by a variety of intuitive marks and methods such as smudging, erasing, and painting. Though her work is sometimes abstract, this piece is representational, though not realistic, and is intended to evoke the sensation of walking or riding through rural ditches.
Paula Owen is president emerita of Southwest School of Art where she guided the institution from 1996 - 2022 when it merged with University of Texas at San Antonio. She also directed the Visual Art Center of Richmond from 1985 - 1996 and was a practicing artist during those years, with works in private, corporate, and museum collections. She holds the MFA degree, has served on several national boards and panels, including the National Endowment for the Arts, and published many essays and reviews. In 2003, her book, "Objects andMeaning: New Perspectives on Art and Craft" was published. It was recently translated into Mandarin. She is a resident of San Antonio and has three children and six grandchildren.
13.5"x11" - $600
Watercolor, Gouache, Ink on Yupo
Untitled
By Katie Pace Halleran
Katie Pace Halleran has a BA in Studio Art with a minor in Art History from Pitzer College and a certificate in Non-Profit Management from UTSA. She was also a selected participant in a yearlong intensive training (Results Count) with the Annie E. Casey Foundation. Based in San Antonio, Texas, Halleran uses watercolor and repetitive ink patterns to create visual mantras informed by both order and disruption. Drawing inspiration from a Jungian perspective of dreams and archetypal symbolism, Halleran’s paintings often feature the circle or dots (which are tiny circles) as spiritual tools for reflection, meditation and beauty. Initially a direct image from a single dream, circles and dots have become an expression of the sacred for the artist in an attempt to connect with the divine and create a sense of beautiful control out of chaos.
17"x15"x15" - $1,200
Ceramic
fish pot
By Diana Kersey
Diana Kersey's artistic journey began in Lubbock, Texas, where, as a child, she discovered clay 13 inches below the surface while digging in her backyard—a moment that ignited her lifelong connection to the material. As a visual artist exclusively devoted to clay, Kersey's work encompasses small studio pieces to expansive architectural installations. Her distinctive style, characterized by her muscular and spontaneous approach, is further enriched by vibrant, translucent glazes. With an MFA in ceramics from Washington State University in 1997 and a BFA in drawing from Texas Tech University in 1994, Kersey's artistic identity is deeply rooted in portraying the natural world. Her commitment to transforming public spaces is evident in commissioned works for The City of San Antonio, VIA Metropolitan Transit, the San Antonio River Authority, and Silver Ventures LLC. Recent accolades include being named the Texas State Artist in 3D by the Texas Commission on the Arts in 2024. She has also received The John Staub Award from the Institute of Classical Architecture and Art, Texas Chapter, the Artisan Award from the Texas Society of Architects, The Arts & Letters Award for Artistic Merit from the Friends of the San Antonio Public Library and The Lynn Ford Craftsman Award from the San Antonio Conservation Society.
16"x13" - $2,000
Oil, Acrylic and Wood on Wood
line for lyons
By Daniel Rios Rodriguez
The artist employs techniques of abstraction to mine the autobiographical, from dream states to the everyday. While narratively ambiguous, his mixed media paintings proffer talismanic qualities made evident by the artist’s physical hand and the work’s essential object-ness. The title “Line for Lyons” originates from a jazz album of the same name by Stan Getz and Chet Baker and recorded in 1983.
Daniel Rios Rodriguez (b. 1978, Killeen, TX) lives and works in San Antonio, TX and received his MFA in Painting from Yale in 2007. Rodriguez has had solo exhibitions at Nicelle Beauchene Gallery, New York (2023,2017, 2020); Cooper Cole, Toronto (2017, 2019, 2022); Kerlin Gallery, Dublin (2018, 2021); Feuilleton, Los Angeles (2020); Western Exhibitions, Chicago, IL (2016, 2022); Artpace, San Antonio (2019); Lulu, Mexico City (2016); McNay Art Museum, San Antonio (2015), and White Columns, New York (2011), among others. Group exhibitions include Various Small Fires, Dallas (2022); X Museum, Beijing (2021); Camden Arts Centre, London (2020); Palais de Tokyo, Paris (2019); Chinati Foundation, Marfa, TX (2018); Contemporary Arts Museum, Houston, TX (2018); Galeria Fortes D’aloia & Gabriel, São Paulo (2017); Michael Benevento, Los Angeles (2017); Hannah Hoffman, Los Angeles (2016); and Roberts & Tilton Gallery, Los Angeles (2015), among numerous others. Rodriguez was 2018 Artist in Residence at the Chianti Foundation and a 2013 recipient of the Louis Comfort Tiffany Foundation Award. His work is included in the public collection of the San Antonio Museum of Art.
12"x24" - $575
Collagraph (printed from Centra Texas native plants: honey locust pods, mesquite beans, and cane grass on kozo paper)
PORTALS OF A PEOPLE: sOLDIER'S QUARTERS FIREPLACES iii
By Sabra Booth
In the exhibit, Portals of a People, Sabra Booth utilized printmaking skills to create light works in the Soldier's Quarters exhibits area and granary in the north part of Mission San José. She gathered an extensive collection of native plants from the San Antonio area to build collagraph plates. The title of the project refers to various openings, such as windows and doors in the exhibit area. Her work is printed on translucent Japanese kōzo paper attached to cedar frames. Designs are based on prehistoric artifacts excavated from the Missions area, which she studied at UTSA’s Center for Archaeological Research. The prints celebrate plants that were essential to the indigenous peoples lives, in terms of diet, spirituality, and personal expression. She also directed a stop motion animation that was displayed in the Visitor’s Center. Portals of a People is a quiet intervention in the San José Mission which prompts reflection on the local flora and prehistoric peoples whose descendants are an important part of the cultural diversity in San Antoniotoday.
72"x36" - $800
Walnut Ink
FLOWING RIVER, WEEPING VALLEY
By Sara Homma
“Flowing River, Weeping Valley” is part of a series investigating Japanese-style ink paintings. As a person of Mexican-Japanese descent with little knowledge of my Japanese heritage, I seek to understand Japanese design and explore themes that may help tell my ancestry’s story. Through practice and repetition, this series has helped me realize the Japanese motifs I need to integrate into future work to begin addressing the Mexican-Japanese identity.
Sara Cristina Homma is a female artist from San Antonio, Texas. She uses oil paint, graphite, and traditional Mexican media in her work. As a first-generation Mexican-American, Sara has grown up amidst border culture, oscillating between her two cultural identities. Though her Mexican and American worlds often contradict each other, she seeks to find home within that discomfort through her art. Using personal and family history, Sara explores the narrative of her cross-cultural identity and what it means to be Latina in the United States. Her artwork seeks to generate contemporary conversations about the Mexican-American identity and role in the United States. Through her artwork, she hopes to recenter the Western narrative on Mexican culture and existence.