FOG Art + Design
Untitled Art Miami Beach
Art Market San Francisco
Zona Maco - Mexico City

FOG Art + Design
January 19 - 23, 2022
Fort Mason, San Francisco, CA

Presenting work by Nicki Green, Zhivago Duncan, Curtis Talwst Santiago, Masako Miki, and Rebekah Goldstein

ZMD, The Hunt for Consciousness 2019-2021, Batik on canvas, 90 1/2 x 212 5/8 inches, 230 x 540 cm
ZMD, Genotype 2020-2021, Batik on canvas, 90 1/2 x 70 7/8 inches, 229.9 x 180 cm
Curtis Talwst Santiago, A moment of reflection and self care Diorama 2021, Mixed Media Diorama in Reclaimed Jewelry Box, 3 1/2 x 2 1/2 x 2 3/4 in, 8.9 x 6.3 x 7 cm
Curtis Talwst Santiago, Pink Memory 1 2017, Mixed media on paper, 27 1/2 x 35 inches, 27 1/2 x 35 in, 69.8 x 88.9 cm
Rebekah Goldstein, Crawling Back To You 2021, Oil and acrylic on shaped canvas, 60 x 62 in, 152.4 x 157.5 cm
Rebekah Goldstein, My Reflection In the Water 2021, Oil and acrylic on shaped canvas, 66 1/2 x 48 in, 168.9 x 121.9 cm
Nicki Green, Sex ´Objects/Sex Objécts 2009, Glazed porcelain, 4 x 8 x 2 in, 10.2 x 20.3 x 5.1 cm
Nicki Green, Morel Figure with Prosthesis 2017, Glazed earthenware and felt, 37 x 22 x 21 in, 94 x 55.9 x 53.3 cm
Masako Miki, Hyakki Yagyo, Night Parade of One Hundred Demons – Nurikabe and Kinstugi-toujiki Yokai, Plaster wall shapesfhiter and animated golden joinery potteries gathering 2021, Ink and Watercolor on Paper, 32 1/8 x 24 5/8 in, 81.6 x 62.5 cm
Masako Miki, Mirror Sticky Rice Shapeshifter 2022, wool on EPS foam, walnut wood, 39 x 28 in, 99.1 x 71.1 cm

Nov 29 - Dec 4, 2021
Ocean Drive & 12th Street, Miami Beach FL


Chris Fallon and Masako Miki investigate the nuances of how people create - and evolve - their identities through relationship to materials and mythologies. Miki draws from the ancient Shinto philosophy that ascribes sentience to animate and inanimate objects or yokai. These shapeshifters portray fluidity and intersectionality. Fallon explores how the practice of collecting shapes the fashioning of domestic space and perception of oneself. Like Miki, he incorporates a spectrum of gender representation. The artists appeal to the viewer to consider their responsibility in respecting and accepting a quickly-progressing landscape of shifting identities in a contemporary world.

CHRIS FALLON, Last Looks 2021, Acrylic on wood panel, 48 × 60 in, 121.9 × 152.4 cm
MASAKO MIKI, Kagamimochi Yokai - Animated Flat Rice Cakes 2021, Ink and Watercolor on Paper, 14 × 14 in 35.6 × 35.6 cm

April 27 - 30, 2017

2 Marina Blvd.
San Francisco, CA 94123
Friday, April 28, 2017— 12:00pm to 8:00pm
Saturday, April 29, 2017 — 11:00am to 7:00pm
Sunday, April 30, 2017 — 12:00pm to 6:00pm

Matthew Fisher, Howard Fonda, Rebekah Goldstein, Rhonda Holberton, Desiree Holman, Masako Miki, Adam Sorensen and Dan Gluibizzi

REBEKAH GOLDSTEIN, When All of this is Over, 2017, Oil and acrylic on canvas, 65 x 52 inches
DAN GLUIBIZZI, Our Equals, 2016, Acrylic and watercolor on paper, 46 x 66 inches (framed)
MATTHEW F FISHER, Sunday Mountain, 2014, Acrylic on canvas, 19 x 15 inches
HOWARD FONDA, Untitled (Just stealin the sun), 2016, Oil and colored pencil on canvas, 40 x 30 inches
RHONDA HOLBERTON, Best of Both Worlds (Rhythm is a Dancer), 2016, Digital Video (3D animation), no sound, 00:12;11
DESIREE HOLMAN, Sophont, 2012, Color Pencil on Paper, 16 x16 inches (artwork) / 20 x 20 inches (framed)
MASAKO MIKI, Waiting, 2017, Watercolor on pastel paper, 27.5 x 19.5 inches

Inquire for full list of works


February 3-7, 2016

Working in sculpture, installation and photography, Rhonda Holberton employs a hybrid of scientific and metaphysical practices to reveal a symbolic reading of empirical canons of belief.  Throughout various bodies of her work, Holberton consistently hijacks existing technologies to reveal invisible histories and make space in the ordinary for the creation of fantastic narratives. Recently, she has been investigating the politics of a virtual landscape navigated by the corporeal body in physical space. This new body of work, SLOW MOTION MIDNIGHT, presented at Zona Maco Sur 2016 includes a suspended silk sculpture, a cast fist of the artist’s hand, sculptural floor gestures, custom wall paper, animation stills, and 3D animation.

Across the installation for ZMS, Holberton explores site as fantasy, fiction and apparition. A Fixed Resistance, the wallpaper covering the booth, creates a mise-en-scène for the work. The artist composited photographs of wandering sand dunes she took on the decommissioned Salton Sea Military Test Base in California with found images of the desert landscape in the Middle East and the Sahara Desert. Holberton likens the desert to virtual landscapes; a seemingly empty canvas ready for the projection of both militaristic and cinematic fabrication. The skinning of the booth is mirrored in the 3D animation, The Best of Both Worlds (Rhythm Is A Dancer), where the artist’s body is presented as a deconstructed digital skin – the result of algorithmic pixelation vis-à-vis the technology used in the production of the video. The fabric sculpture, No Seams to Match, is a reconstruction of a life-size military bunker sewn from silk printed with photographs shot on decommissioned military bases along the coastline of California.

Holberton downloads publicly available 3D models from an online database to create the sculpted rocks, A Fallen Pixel I, II, III. Mostly used by game designers, these rocks will have populated countless virtual spaces, but have no reference in reality other than human memory. The sculpture An Additive Inverse, employs the gesture of the “raised fist,” a symbol of solidarity and human strength. The artist describes the painting, A Short Lived Fault, as a collaborative action; using a process called data bending Holberton combines the raw code of glitched video stills with an audio recording of a reading she had with a psychic. The resulting data is opened back up in an image editing program and printed on canvas. Holberton then covers her body in paint to record a series of yogic gestures that she performs on top of the canvas. The movement takes it cues from somatic healing suggested by the psychic during her reading.

For Zona Maco Sur 2016, Holberton uses cycles of virtualization and actualization to blur the boundaries between imagination and reality.  She conflates military history with cinematic fantasy and attempts to engage in subconscious interactions with computational algorithms. The desert setting has physiological and psychological appeal for Holberton who says:  “Everything slows down and opens up in the barren environment. The empty space allows for both the projection of wartime fables and wild enactment of psychedelic ritual. In the desert, the human senses cannot make sense of the distance to the horizon.”

The Sur section of Zona Maco Sur is curated by João Mourão and Luis Silva, co-directors at Kuntshalle Lissabon, Lisbon.

RHONDA HOLBERTON (b. 1981, Fall Church, Virginia USA)
Working in sculpture, installation and photography, Rhonda Holberton employs a hybrid of scientific and metaphysical practices to reveal a symbolic reading of empirical canons of belief. Rhonda has recently had solo and two person exhibitions at City Limits Gallery (Oakland, CA), Royal Nonesuch (Oakland, CA) and the Berkeley Art Center (Berkeley, CA) and will have her second solo show with CULT | Aimee Friberg Exhibitions in San Francisco in the autumn of 2016. Her work has been included in exhibitions at the San Jose Institute of Contemporary Art and the San Francisco Arts Commission. In 2012 she received a Project Grant from the San Francisco Arts Commission and San Francisco Museum of Modern Art's SECA Grant Nomination. Holberton received her B.F.A. from the California College of Arts and Crafts, and her M.F.A from Stanford University. Her work has been featured in SFAQ, Art in America, Art Practical and Daily Serving, among others. Holberton is represented by CULT | Aimee Friberg Exhibitions; her work is featured as a solo presentation in ZONA MACO SUR 2016 in Mexico City.

RHONDA HOLBERTON, The Best of Both Worlds (Rhythm is a Dancer), 2016, Digital Video/ 3D Animation, 00:12:11, Edition of 3 + 2 AP
RHONDA HOLBERTON, Midnight, 2016, Archival Pigment Print, 20 x 30 inches, Edition of 3 + 2 AP
RHONDA HOLBERTON, Slow, 2016, Archival Pigment Print, 20 x 30 inches, Edition of 3 + 2 AP
RHONDA HOLBERTON, Spread, 2016, Archival Pigment Print, 20 x 30 inches, Edition of 3 + 2 AP
RHONDA HOLBERTON, Motion, 2016, Archival Pigment Print, 20 x 30 inches, Edition of 3 + 2 AP
RHONDA HOLBERTON, An Additive Inverse, 2016, Plaster, Graphite, Pigment with Custom Elmwood Pedestal, Unique one of a kind, 66 x 12 x 12 inches
RHONDA HOLBERTON, A Fallen Pixel I, II & III, Foam, Polyurea, 18 x 11 x 11.25 inches (I), 22.25 x 13.75 x 13.50 inches (1I), 28.25 x 17.50 x 17.25 inches (III), Unique one of a kind
RHONDA HOLBERTON, No Seams To Fit, 2016, Custom Printed Silk, Custom Hardware, 56 x 26 x 111 inches
RHONDA HOLBERTON, A Short Lived Fault (Glitch), 2016, Acrylic and Ink on Canvas, 45 x 82 inches
RHONDA HOLBERTON, A Fixed Resistance, 2016, Pigment Print on Wallcovering, Edition of 3 + 2 AP