SFiCA

SFiCA is an interdisciplinary collaboration between the graduate students of California College of the Arts and San Francisco Art Institute.

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June #SFiCstagram is here! Alexis Bolter @alexisbolter from CCA and Alex Molinari @hippierosebudmolinari from SFAI.

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May #SFiCstagram is here! Calen Barca Hall (@cbarcaha) from CCA on the left; and Marc Daniel Hirsch (@marcdanielhirsch) on the right!

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Introducing your April #SFiCstagram residents! Left: Courtney Greenlee from CCA @lambquarters; right: Jared Weiss from SFAI @jared_weiss_now

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Introducing your March #SFicstagram residents: (Left) from CCA John Kildahl @johnwkildahl and (Right) from SFAI Chris Grunder @grunder. Follow them all month right here on @sficarts

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Introducing your next #SFiCstagram Artists in Residence: (left) from SFAI @nandomalvarez and (right) from CCA @brity_brit!

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Photograph of the Female Form

(2013)

36"x48"

Pigment and News Print

Proximity, tactility, fidelity (in at least two senses), materiality, probably a couple other words that end in -ty, are all considerations of mine when creating this work. The ability* of a photograph to objectify the human form is played with here as these photographs become objects in their own right and through abstraction represent the body only in a symbolic and indirect way.

-Chris Grunder

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http://davidlasley.tumblr.com/

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The Astrologist

32 x 44 

Oil on canvas

2013

Lasley creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. His works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in painting.

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blu voelker

here is a link to my old website, sorry it is out of date kinda.

http://whoisbluvoelker.blogspot.com

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Pictured above: "Enduring Tradition" by Rhys Bambrick. 2013. Wood (hard Maple) stained with hockey pucks and oil, microcrystalline wax, encaustic pigments, dammar resin, Man o' War spar varnish, wood glue, bolts, and fender washers.

Statement: In his sculptures, Rhys attempts to re-make a series of consumer objects as if they achieved a self- awareness of the bloated masculine excess that brought them into existence. Huge, previously flat- screen televisions become deep, waxy reliefs pregnant with form and satire, now depicting the real gore and damage behind the staged violence that sustains America’s viewership of spectator sports. Glossy racing helmets now droop with heavy folds of fat. The resulting “satirifacts” are swollen with the foolish self-harm which accompanies satisfied male desires. 

www.rhysbambrick.com 

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Pictured above: Drawing for future sculpture. by Rhys Bambrick. 2014. 

Statement: In his sculptures, Rhys attempts to re-make a series of consumer objects as if they achieved a self- awareness of the bloated masculine excess that brought them into existence. Huge, previously flat- screen televisions become deep, waxy reliefs pregnant with form and satire, now depicting the real gore and damage behind the staged violence that sustains America’s viewership of spectator sports. Glossy racing helmets now droop with heavy folds of fat. The resulting “satirifacts” are swollen with the foolish self-harm which accompanies satisfied male desires.

www.rhysbambrick.com

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Photography is a unicorn.

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Sculpture/video installation

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Machu Picchu Tract Housing

Marc Hirsch

MACHU PICCHU TRACT HOUSING

Acrylic and Photograph on Panel

18"x24'

Since the first craftsmen, artists, and architects made their simple creations, the human race has made countless achievements and expanded our minds in ways we never could have imagined; yet we’re still the same freshly civilized humans from ten thousand years ago. I see little difference in people born during the Bronze Age and those of us living in the Digital Age except for our experience and technology. When observing the human race from an anthropological point of view an alien college professor from a million light years away may speak of us all in just a single lecture and slide presentation. I’m okay with this and take it into consideration as I make art for the twenty-first century. My work takes an objective point of view of human achievements through hybridization of cultural artifacts and structures. With an incoherent timeline and bastardization of the culturally sacred I aim to bring discourse to the ego of our greatness.

http://www.marchirsch.tumblr.com/

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Double Vey

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My art is about not giving a fuck in a classy and intelligent manner. 

It’s also about thinking about big ideas through smaller things by creating stages for them to perform with, and for, each other in the shadow of human history’s own stage.

 Sort of like Phantom of the Opera, yes my art is the phantom, or Quasimodo marking the city's time by ringing the bells, or as Marx would put it   :

“ A spectre is haunting history — the spectre of art.” 

                                                                                                   * REMIX * 

                                                                            C. Franco Maldonado

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Machu Picchu Tract Housing

Since the first craftsmen, artists, and architects made their simple creations, the human race has made countless achievements and expanded our minds in ways we never could have imagined; yet we’re still the same freshly civilized humans from ten thousand years ago. I see little difference in people born in the Bronze Age and those of us living in the Digital Age except for our experience and technology. When observing the human race from an anthropological point of view an alien college professor from a million light years away may speak of us all in just a single lecture and slide presentation. I’m okay with this and take it into consideration as I make art for the twenty-first century. My work takes an objective point of view of human achievements through hybridization of cultural artifacts and structures. With an incoherent timeline and bastardization of the culturally sacred I aim to bring discourse to the ego of our greatness.