I love process, especially when it comes to working on collages, monotypes or paintings. I've been drawing, painting and printmaking for over 30 years, working in different media, yet a common thread flows between the marks and gestures of all my finished pieces. My influences are geometry with respect to structures like music and science (nature). I am fascinated how seamless this visual history consistently appears despite the years that have passed. Things that inspire me are the central coast of California where I live with tangled piles of kelp and distressed tree limbs plus my lifelong interest and study of music. My current focus and body of work is collage that involves fragments of discarded intaglio prints, encaustic monotypes and drawings. Sometimes the collages are mounted on panel with additional painted imagery, sometimes they are mounted on paper. The result is never ending hours of challenge, problem solving and fun as I attempt to make visual sense of these puzzle-like fragments, each with a different configuration yet sharing many elements with the pieces that have gone before them.
Tracey Adams has been an exhibiting artist for over 34 years, both as a printmaker and painter. She has participated in over 150 solo and group exhibitions in the United States and internationally, including solo shows at the Fresno Art Museum, Monterey Museum of Art, Santa Cruz Museum of Art and History and Andy Warhol Museum in the Slovak Republic. Her paintings are in the collections of the Crocker Museum, Monterey Museum of Art, Fresno Art Museum, Tucson Art Museum and Santa Barbara Museum of Art to name a few. Her work was included in Encaustic Art: the Complete Guide to Creating Fine Art with Wax, Lissa Rankin, Watson-Gupthill, 2010, and Paper + Wax, Techniques in Handmade Paper and Encaustic, Michelle Belto, North Light Books, 2012. She maintains a studio in northern California.
Jylian Gustlin is a native Californian and grew up in the San Francisco bay area. She has been shaped by the technology explosion of Silicon Valley and her art reflects her in-depth knowledge of that technology.
“I knew that if I finished, I would never make art” is how Jylian Gustlin explains leaving college one semester short of a degree in computer science and mathematics to attend the Academy of Art College, San Francisco. After completing her BFA, Jylian fused her understanding of computers and her passion for art to become a graphics programmer for Apple Computer, Inc. Now, Jylian uniquely combines the effects of modern technology with traditional techniques. While painting in acrylic and oil paints, her artwork often conveys the same complex layered effects possible in computer programs such as Adobe Photoshop and Illustrator. Just as she challenged the creative limitations of the latest computer software, Gustlin experiments with a variety of materials to discover their effects. Working with two-part epoxy resin, oil and acrylic paints, charcoal, wax, gold leaf, pastel and graphite on board, Gustlin draws, paints, scratches on her surfaces.
Figures have always been an important part of Gustlin’s repertoire. Her characters are frequently set in an alien-like landscape, moody and brooding, yet at the same time, depicting a sense of future. Jylian has been influenced by a lifelong love of the Bay Area Figurative artists.
For the last several years, Jylian has been working on a series of paintings, both abstract and representational, that are based on the Fibonacci mathematical theories. The Fibonacci mathematical theory is based on the numbers 1, 2, 3, 5, 8, 13, 21, and so on. Fibonacci mathematical calculations create rectangles and shell spirals based on the incrementally increasing numbers. She is also exploring the relationship of Fibonacci numbers to the petals on flowers and how to use these ideas in paintings as well as the relationship of Fibonacci to musical scales and how the 5-tone scale, 8-tone scale, and 13-tone scale. She continues to explore science and mathematics and how it intersects with the arts.
The experiences I had growing up in a bicultural family fuel the imagery, and emotional quality of my work. My father is an immigrant from Mexico, and my mother a white American. Overtime, I started to recognize cultural dichotomies and accommodate conflicting viewpoints based on context. With a constantly shifting sense of identity, I explore imagery through my work that is informed by photos, emotions and memory. Painting in layers, I use masking techniques to jumble formal qualities such as abstraction, realistic representation, and language. The combination of divergent elements suggests a pluralistic reality, and the imagery demonstrates the difference of my bicultural perspective
Dan was born in Santa Rosa, California during the year of 1980. He now lives and works in Brooklyn, NY.
Since his student days at the Los Angeles Art Center School in the 50’s, John Denning has been fascinated by the human figure. His background in the arts is rooted in painting and drawing with a particular emphasis on watercolor. In his sculptures, the worn figures express fragility, motion and entropy. Like worn and weathered stone, his works remind us that nothing is permanent.
Denning is inspired by painters Nathan Olivera, Richard Diebenkorn, Francis Bacon, and sculptors such as Manuel Neri and Stephen De Staebler.
Painting serves two primary functions for me: to experience presence in the world and to engage in personal freedom. It is a freedom not to do things, but to be.
The starting point for each painting comes from a specific experience of light, what Monet often referred to as the atmospheric “envelope” of the landscape.
I use the Impressionist working method of painting out-of-doors from direct observation. For me, looking and receiving is a means to transcend oneself through an experience of deep focus on the outside world. I find this way of working the most freeing. But unlike the outdoor painters of the 19th century, spontaneity and the aesthetics of the sketch are not primary ambitions. I am drawn to the plastic values born in the Modernist era. I search for abstract, color and tonal shapes that have equivalences to the forms and spaces of the subject. I also look to create shapes with a duality between the flatness of the picture plane and the three-dimensional space of the seen world. Within this formal structure I try to convey the unnamable experiences of beauty and transcendence. Realizing the plasticity of this “envelope” can take a few hours or several months
I paint almost entirely from direct observation of the landscape. I find the experience of close, extended looking and thoughtful response to be a great challenge, but also the most freeing experience. For me, deep focus on the external world is a means to transcend the limitations of the self for a kind of awakening and a deeper presence to our experience. The possibility of transformation is a subject in both my painting process and in the landscape subjects I choose to paint; it is my form and my content. Light and atmosphere's ability to transform the physical is my most valued metaphor for conveying our longing for deep freedom and oneness with the world around us and beyond.
One of the most arresting visuals for me is an old wall layered with papers, graffiti, and text- our modern hieroglyphics. I try to re-create this beauty in my work, the layers of time and decay are what interest me. I hope that the person viewing my work will linger, trying to discover hidden imagery and text and depending on their life experience, find their own meaning or interpretation.
Found images and objects function as signifiers of both individual and collective experience. By incorporating materials that are linked to the realities of daily life, I strive to establish an immediate identification between the viewer and the work of art. I am exploring the place between “high art” and popular culture, text and image, figuration and abstraction, past and present, and two and three-dimensional space.
I begin working without a final vision in mind; I use collected materials and allow pattern, texture, color and structure to emerge organically. In this current body of work, I want the pieces to evoke the walls of Morocco, a Renaissance Church, a NYC subway wall, and a hint of Malibu Barbie all simultaneously existing on one canvas.
“There exists an obvious struggle between the natural world and that which we build and construct. Living in the modern world forces us to find a balance. Ricci’s work accomplishes just that: it’s at once elegant and gritty; urban and earthy. And the real treat of Jill’s pieces, is that each time you revisit the piece, you will likely find something you had never noticed before.” Emily Asher Neiman, Director Asher Neiman Gallery
“In our modern and sleek world, we find fascination in old things and places. These are objects with a story, subway walls wallpapered with layer upon layer upon layer of poster ads or the stratum of paints on a bedroom wall, showing us the history of its owners. These are the ideas New Jersey artist Jill Ricci strives to convey in her work, those hidden discoveries.
By combining elements of advertising ephemera, fabric, wall coverings and abstraction, Ricci’s work manages to feel at once ancient and modern.
With contemporary graphics layered under the patina of paint, these pieces almost feel like we are peeling back the scales from the antiquated to find that what is hidden beneath is not obsolete, but avant-garde.
The artist’s layering collected materials mirrors society’s ever abiding search for the next big thing. We are constantly looking for the latest gadget, fashion or whatchamacallit that will give us joy. But perhaps, joy doesn’t come from the newest thing, but looking back with fondness and learning from what has come before.” Lesley Frenz, Art Critic, 2012
Jacob Dhein was interested in art as a child. Crayons and colored pencils were his tools of expression. He spent hours intricately crafting drawings of comic book heroes and animals. By the time he graduated from high school, one of his drawings was exhibited on the wall of a local bank. It wasn’t until he was a sophomore at the University of Wisconsin-Oshkosh that he decided to take a drawing class. He found this so compelling that he continued with sculpture and painting. During this time he met several accomplished and influential artists who encouraged him to pursue a career in art. Tc Farley, his advisor and sculpture professor, taught him about the struggle and dedication one needed to succeed as an artist. Li Hu, his painting professor, showed him the professional side of the art market and what he needed to do if he wanted to paint for a living.
In 2006, Jacob graduated with a Bachelors of Fine Arts degree with an emphasis in Painting and Sculpture. He worked for several years after graduation, although still continued with his artwork, mainly doing portrait commissions. During this time he took workshops to enhance his skills with painters whose work he was interested in. After two years, in 2009, Jacob dedicated himself to painting full time. Upon reflection he realized that there were missing elements in his artwork he needed to explore if he were ever to reach his goal of mastering the medium. He searched for a school that had a renown faculty that excelled in the area of representational painting. He decided to get his Masters of Fine Arts at the Academy of Art University, San Francisco that he completed in 2013. In 2014, Jacob started teaching drawing and painting at the Academy of Art University, San Francisco.
My interest is in creating a permanent record of the impermanence of our world. In considering the exquisiteness of a moment shared, of a new connection, a new thought, an old memory, I am often stuck by the duality of permanence and impermanence all around us.
My work engages the natural world through this lens. Images of birds or flowers talk to me of connection, of beauty, of freedom, and of the precarious and profoundly precious nature of our world. Making marks on a surface, choosing colors, dripping, obscuring and replacing images talk to this through the act of painting.
Paintings are made of hundreds of distinct moments and of small decisions; each has its own “no” or a small ecstatic “yes”. The finished piece is a history of those fleeting, but profound moments.
Brandon Blane McMillan was born and raised in South Georgia and grew up on a tobacco farm. Dividing his time between the joys and rigors of fatherhood, farming, and his family’s restaurant, he works from a small studio creating mixed media representations that seamlessly meld the divide between hyperrealism and abstraction. His bold imagery is a manifestation of a life spent amongst windy spaces, falling barns, and pastureland where he captures the slow ruination of nostalgia and heritage. His work is not so much about the image itself, as it is an illuminant into the rhythmic memories of the landscape. His work often displays an animalistic ferocity yet maintains subtle renderings of stories heard long ago, sublimating nostalgia for those lost places, producing work that defies the finite while attaining “depth by layering.” His process and his “history of marks” is much about what’s beneath and unseen. It becomes as momentous as the final translation received by the viewer.
Carlo graduated from the Pennsylvania Academy of the Fine Arts in 2004 where he focused his studies in the methods and practices of traditional realism. Since his graduation, he has been a full-time artist and has exhibited his works in numerous galleries across the United States. His galleries include F.A.N. Gallery in Philadelphia PA, Anderson Gallery in St. Simon's Island GA and Sloane Merrill Gallery in Boston MA. While known primarily for his mastery in still life painting, he is accomplished in figurative and landscape painting as well. Carlo works in the natural northern light that fills his studio. He is intent on creating beautiful works which capture the myriad textures, colors and forms we find all around us.
Cynthia was born in the Chicago area and moved to the San Francisco Bay Area as a child. She has had a love and passion for art since a very young age and has studied the arts throughout her life. The educational experience Cynthia considers her most important and influential was time she spent studying under Nathan Oliveira at Stanford University.
Cynthia has a passion for a variety of mediums including painting, collage, mixed media, encaustic, assemblage, and found object sculpture. Seeing life in found objects has always inspired Cynthia to collect antique objects and papers that inspire her mixed media works. She turns found objects into fine art. Her antique paper collage works are created from original antique papers from around the world, dating back to the 1700’s. She creates an intriguing juxtaposition that tells a story of past lives.
When painting she is intrigued by the interplay between abstraction and representation. She is interested in many different styles of painting. One of which is similar to the Italian Frescos, influenced by the patinas of centuries old weathered walls of the villas in Lake Como, Italy where she has been so fortunate to spend many summers. Painting on wood panel and often using plaster, layers of paint create the depth of color and texture. She adds and removes layers until the interplay of colors and forms coalesces into a coherent and cohesive work of art. Cynthia enjoys using mixed media to add yet another dimension to her work. Her works take you to something familiar; to imagine the place, the people, or the time.
Cynthia has traveled extensively throughout Europe with her main focus on studying art and artists. While living in the Turks and Caicos Islands she had an art gallery where she was able to create art for clients world wide. Her artwork was commissioned for the public spaces of several high-end resorts and residences on the islands. Her works are in numerous public and private collections.
Cynthia is the Jessup Cellars Gallery Curator and resident artist. She honors and supports her artists in the development of their artistic vision and creative processes. She has an innate passion for the arts and enjoys working with collectors building collections, providing art advisory services and assisting individuals in navigating the art world. She can be reached at Cynthia@JessupCellarsGallery.com or 415-601-3833.
Brian Hibbard ended up in North Carolina, after trying to literally walk away from his art. He and his wife planned to hike across America. They started in California after training on the east coast, but after a few days striding over unfamiliar, rocky terrain, their dog's feet blistered and split. They gave up, bought a Westphalia van, lost it to a, thief in Colorado, and ended up living in a camper perched atop a mountain.
Compared to that, Hibbard's life years later seems downright staid. He's standing outside his solar-paneled studio dressed in a utilitarian ensemble of polar fleece, navy twill and hiking boots. If the paint streaks on his clothes were dirt instead, he might easily be mistaken for a hand on the Santa Fe ranch where he refined his work ethic.
Instead of replacing the art he'd studied during his college years, Hibbard's sojourn in the Southwest returned him to it with a renewed sense of focus. Since coming back to his Southern roots and staking his claim on a beautiful farm in North Carolina , the man in the primer-striped shorts has become one of the most in-demand, talented and hard-working artists in the region.
This Southern artist takes a modern approach to classical painting, depicting rural landscapes, regal horses and rustic barns. Hibbard has a methodical, workmanlike approach to his vocation, which he pursues through even the occasional bout 'of artist's block. Hibbard prides himself on meeting deadlines and returning phone calls in a timely manner. Even in this recession "It's amazing how busy I've stayed," Hibbard says. "Since I do this full-time, I'm able to jump on opportunities when they come up. If somebody calls, I try within a day or week to jump on it. I really take pride in that."
And the calls have been coming. Hibbard is currently represented by 14 galleries across the country. Even though he's stayed busy, it isn't all toil. Hibbard makes time for flashes of inspiration by taking a drive in his old military painted chevy. These jaunts in the country often become the muse for his latest series of landscape paintings or metal sculptures. Outside his studio overlooking lush green fields, two sculptures, a horse made from motorcycle parts and other found metal objects and the gigantic head of a woman, languish in the afternoon sun. Inside, the walls are donned with a paintings that are a true feast for the eyes.
Although he experiments with nontraditional media and abstraction, the artist’s touchtone is classical technique. Birds, Horses and organic figurative works make up his oeuvre of classical , yet modern pieces as well as ethereal tributes to the great outdoors. Hibbard works on panel, not canvas, for most of his paintings. For some of the figurative pieces, Hibbard employs experimental media like tar, mineral spirits and resin. He emphasizes the sculptural element even more in some of his abstract work, like one painting caked with broken bottles and resin. Writer Orson Scott Card said it best when describing Brian’s work as having “ an interesting palette of muted colors that include a strange, metallic brown that suggest copper. His trees and clouds are rimmed with slight shadowing that is... at once representational and yet theatrical. I fell in love with all of his work." We believe you will too.
I have always been drawn to color. Pure color. How opposite or like colors complement each other and the myriad of emotions that colors evoke.
I describe my work as "a surface of navigation", like a map. The paintings I produce are abstract landscapes of color, shapes, lines and textures related and synchronized to create their own rhythm. My work attempts to awaken the memories of color and light that are evident in all of us, and to inspire our sensibilities to have a dialog with these memories.
Inspiration comes in the many environments I observe "in the world". The sophisticated colors and patterns of a Gee's Bend quilt or wandering through the grey concrete world of a parking garage or observing the sublime color of water in a white bathtub. These places and objects instill in me ideas of light, color and balance. Inspirations are not always evident and they arrive in many different forms.
- Michael Shemchuk
My work suggests a dialogue about cultural fusion rooted in personal experiences and is manifested through abstraction. The intent is to establish these recollections in a visceral manner rather than overtly. Metaphorically, they offer a visual pathway to exploring emotions. Each one is like a fingerprint of my emotional state of mind. My background as a female Chinese Peruvian growing up in Long Island, New York, has played a significant role in my body of work. The experience of these multi-cultural dichotomies and its customs and traditions with the values of American life brought a fractured sense of identity.
My process is an essential component in my work amalgamating between methodical and visceral techniques. I utilize the liquefied and unpredictable nature of paint by often increasing its viscosity through mixing with various mediums, which may manipulate how a piece turns out. The simultaneous action between revealing and veiling of the paint and incorporating mixed media such as acrylics, oils, inks, pencils, china markers, aluminum tape, sand and twine allows to achieve the desired depth I look for. Every tool I use such as palette knives, brushes, sponges and squeegees all produce different textures and marks I am both familiar and unfamiliar with. Each painting consists of numerous layers often taking up to several months to complete.
The presence of organic forms are pulled from the terrestrial environment and developed with harmonious fluidity throughout the piece. Colors, such as saturated red to aqueous blues, hold a key importance in my work because of its emotional signifier it represents; anger, passion to tranquility and serenity. With the complexity of paint application, layering techniques, composition and color palette, the imagery offers the viewer a tangible document of my idiosyncratic visual language.
Mystery/Arvoitus, Hesa Inprint, issue # 21, October 2012
art ltd., Review: Continuum at ArtZone 461, July/August issue
SF Museum Examiner Nancy Ewart, ArtZone 461 Continuum, April 16, 2012
Cimarron Review, cover art, winter issue, 2012
Santa Clara Magazine, War and Peace, vol. 53 no.3
Obsession/Compulsion, Ink Well, vol. 5, 2011
Creative Growth, Triton Museum, exhibition catalogue, 2011
The California Landscape, Natsoulas Press, 2010
New American Paintings Anniversary Edition, Open Studios Press, 2010
Art in Embassies Exhibition Catalogue, Montevideo Uruguay, 2007
San Jose Mercury News, “Surveying Our Landscapes” Sara Wykes, August, 2007
The Wave Magazine Vol. 7 Issue 2 “Space and Time” Michael J. Vaughn, February, 2007
Artweek, Vol. 37 No.7 “Previews” Debra Koppman, September, 2006
Sacramento News and Review “Get into’scape” Saunthy Nicholson-Singh, September, 2006
Sacramento Bee “Critic’s Pick” Victoria Dalkey, September 15, 2006
New American Paintings, Juried Exhibition-in-Print. The Open Studios Press: Boston, Vol. No. 61, p. 114-117, 2005
Sacramento Bee “Critic's Pick” Victoria Dalkey, July 4, 2004
Sacramento News and Review “Getting It” Tim White, July 22, 2004
Berkeley Art Museum Catalogue, “Far Away-Nearby” Heidi Zuckerman-Jacobson, 2003
New American Paintings, The MFA Annual, The Open Studios Press: Boston, Vol. 7. p.130-131, 2002
Beverly Lazor lives in Southern California. At a very early age she was exposed to the landscape with regular Sunday family drives up and down the beautiful California coast. This influenced her love for our wonderful diverse countryside, there is nothing like experiencing the lighting, atmosphere and mood of an environment and then trying to capture it on a canvas. Beverly has always been inspired by the impressionist painters and their wonderful use of color, texture and brush strokes. Plein air painting has become a passion. You just can't capture the same excitement and experience in the studio as being there with nature. The use of shadows and color play an important part in inspiring her compositions. She favors a more loose painterly approach to her work, enjoying the more subtle nuances that brush strokes can achieve in a painting.
After graduating with distinction from Art Center College of Design in Pasadena, she worked as a freelance illustrator /product designer for over 30 years, working in the entertainment industry, illustrating children's books, puzzles, clothing, jewelry and toys, working with clients like Disney, Amblin, MCA, Bradford Exchange, and The Getty Museum. She currently is the Online Fine Art Assistant Coordinator at the Academy of Art University, as well as teaching fine art online classes.
Brooks Anderson was born in Santa Monica, California, in 1957. He graduated with a Bachelor of Fine Arts degree from California State University in Northridge, studying with established artists of the Los Angeles art scene: including Saul Bernstein, Watson Cross, Walter Gabrielson, Marvin Hardin, Joyce Treiman, Hans Burkhardt, and Ernest Velardi. He studied in Maine with William Holst, a student of Hans Hofmann. His work is found in numerous collections, including the Philbrook Museum in Tulsa, and is included in the seminal book, Spirit of Place: Contemporary American Realism in the Landscape Tradition. In 1996-97 Brooks lived in the south of France, completing fifty paintings of the region. Currently living in northern California, he devotes himself full time to producing invocative landscape and seascape paintings.
I have recently departed from my ongoing endeavor of plein air landscape oil paintings and am currently exploring a series of deconstructed abstractions of those spaces. Both my representational and abstracted work include the overlooked spaces that we encounter every day, to the picturesque landscapes we expect to see in a painting. After focusing on smaller plein air (on site) paintings beginning in 2009, I have shifted my attention to using these these paintings as studies to create larger studio iterations and deconstructions this year in 2014. I am a recent Seattle transplant, presented with urban, water and natural surroundings for an abundance of subject matter that permeates my visual intrigue and provides much inspiration. Because I am so inherently influenced by my immediate surroundings, my subject matter tends to depict the places where I live and explore. The way in which I go about depicting these spaces does not adhere to exactness but rather focuses on a truthful dialogue between observing and responding to my visual senses. I have an affinity for strong linear compositions, telephone wires and images that recede into the distance that perhaps introduces both a wondering of what lies beyond as well as an honest depiction and experience of a place. I believe that beauty is something that we shouldn’t neglect in our Postmodern time, which is why I have chosen to stay within the traditional realm of painting; it will never lose its ability to imitate, satisfy, and illuminate for both the viewer and creator.
From Denver, Colorado, obsessed with the frailty of light and the texture of paint. I’ve devoted most of my twenties to hunting down aesthetics, narrative and voice.
Selected Group Exhibitions
2014 | SLOANE MERRILL GALLERY | "New Faces & Old Friends" | Boston, CO,
2014 | ABEND GALLERY | "Three Person Show [Introducing Matthew Saba]" | Denver, CO
Featured in SOUTHWEST ART magazine September '13, "21 UNDER 31: YOUNG ARTISTS TO WATCH IN 2013"
Kathryn studied at the Kansas City Art Institute for three years and completed her Bachelor of Fine Arts in Painting at the University of Kansas, Lawrence with a Phi Kappa Phi honor. She completed her (MFA) Master of Fine Arts in Art with Honors. (Lawrence, Kansas is where William Burroughs resided the last section of his life and Alan Ginsberg a frequent visitor. A bit of the “beat” poets and writers influence is seen in Kathryn’s work.)
Kathryn Arnold has shown her work on a national scale, from New York City to Hawaii, from Los Angeles to Chicago and Kansas City and St Louis. She has been written about by Alan Artner, art critic for the Chicago Tribune and Raphael Rubenstein, senior editor of Art in America along with many others. Her work is included in numerous public and private collections.
She exhibits nationally in galleries, universities and art centers and is a NEA Regional Fellowship recipient. She has received other fellowships, grants and awards as well. Kathryn’s work is included in numerous public and private collections.
Kathryn works in her studio in San Francisco. It is a large space with a skywell that keeps track of the time. Her work contains two intertwining veins. One is filled with large, colorful oils on canvas. The other vein includes drawings that are black and white mixed media works on paper. Both display the density and layered mark-making that points to artistic process and content.
Artist Statement: Kathryn Arnold
The paintings are a result of intuitive nonobjective processes and contain my search for visual "magic". The sense of touch and chaotic energy of color and marks play an important role in building up layers that function to create and encompassing, enveloping field and bewildering space. The grid at times becomes a reference point and the intrinsic relating of parts form poetry; an interplay between subjective and objective realities.
Vincent Xeus is a torrential force on the international art scene that permeates and defines our contemporary culture. His relentless pursuit on re-evaluating and re-inventing fresh aesthetic visions is one of the most vital and remarkable characteristics of his creation. Oscillating between figuration and abstraction, his work embraces, yet challenges the traditions of painting with an exploration of contemporary practices and observations. Xeus reminds the audience to continually adjust perceptions and to formulate new syntheses built upon the past. Reflecting a passionate spirit of innovation, a deep curiosity about history, and an affinity for cultural identities, Xeus’ efforts in his body of work not only survey past traditions, but also look forward to the future. Xeus presents alternative ways of seeing the temporal world, which leave the viewer in constant flux of refuge, enlightenment and sheer admiration.
Xeus’ prodigious artistic output has earned him the highest international acclaim. His artworks are in renowned public and private collections, exhibited in landmark museums and galleries worldwide, and have been celebrated by prestigious institutions, including Portrait Society of America and International Art Renewal Center.
Vincent Xeus was born in China in 1981 and began his artistic journey at a young age. He currently lives and creates in California, USA. He graduated with High Honors from UC Berkeley in Architecture. Xeus is the President of Marque Design & Architecture. He also serves as Board Director of Arts Council Napa Valley and Arts Commissioner in Napa Valley.