Between The Lines
Andreessen Horowitz
San Francisco, CA
Zai Divecha | Adam Feibelman | Chad Hasegawa | Daniel Chen | Joshua Rampage
Seed Gallery’s first installment, Between The Lines, takes place in the newly built San Francisco headquarters of Andreessen Horowitz. The inaugural event features five SF-based artists, whose abstract work emphasizes repetition through material, technique, and subject matter that, when presented together, ignite a sense of discovery and connection that goes well beyond the surface.
On View: January - March 8, 2024
Private Viewings by Appointment Only
Location: Andreessen Horowitz, 180 Townsend St, San Francisco, CA
ZAI DIVECHA
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Zai Divecha (she/her) is a San Francisco-based artist whose work provides a quiet, calm respite from an overstimulating world. By folding, pleating or rolling sheets of white paper, she creates intricate patterns of light and shadow in both sculptures and stop-motion videos. Divecha has shown at Heron Arts, Marrow Gallery, the American Craft Council, and West Coast Craft; collectors include Letterform Archive, PwC, Twitter, Instagram, Square, and Google.
website
instagram
threads
Zai Divecha
Tetartoid Cycle
162 x 48 x 12 in.
Paper
2023
SOLD
ADAM FEIBELMAN
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Artist at large Adam Eli Feibelman, originally from Albuquerque, New Mexico, has lived and worked in the San Francisco Bay Area since 1997. Honored with the California College of Arts in Crafts’ Yozo Hamaguchi scholarship, Adam pursued a double major there in illustration and printmaking.
Degree in hand, Adam went on to develop a mode of working all his own, in multiple-layer hand-cut photo-realistic stencil paintings. A hallmark of Adam’s artistic efforts is the palpable evolution in his process. Thus, over time, the tools of his trade became the focus of his work, sewing together and assembling the paper stencils to make abstractions of the images he had painted. His stencil assemblies continue to be exhibited nationally and internationally and have been favorably reviewed several times. “Feibelman's intricate cutouts have an abstract look at first, but their details gradually sort themselves into images of water, vessels and shorelines. I have seen nothing else quite like them.,” said Kenneth Baker, former art critic of the San Francisco Chronicle. In a more recent write up concerning Adam’s 2017 conceptual exhibition about immigration, Charles Desmarais of the Chronicle said, “A combination of thoughtful criticism and biting wit.” “Feibelman’s is a marvel of stencil-cut paper, a hand-worked tribute to traditional weavers of the 17th century.” The evolution in Adam’s work continues its experimentation with materials in service to his ideas, creating an increasingly broad repertoire, which has enabled a push into the world of public art.
Adam has been featured on television (Spark KQED), and on NPR, in Harper’s magazine and Juxtapoz. His work has been included in traveling museum exhibitions, he has received multiple private grants, has been artist-in-residence at the Tamarind Institute. His work is in the collections of Kevin King and Neil Young.
For several years Adam has been accepting private and public commissions, which, by now include eight pieces for the 49ers’ Levi's stadium in Santa Clara, CA , a four-story load-bearing cut-steel staircase in a private residence in Palo Alto, CA, and a 173 linear foot, cut-steel, permanent installation at the Golden State Warriors’ Chase Center In San Francisco (to name a few!). He is currently working on two major public works, one for the BART (Bay Area Rapid Transit), the other for the County of San Mateo, CA.
website
instagram
Adam Feibelman
Specter
Enamel on canvas and screen
24 x 16 in.
2021
$2,000
Adam Feibelman
Blue Ivy
Enamel on canvas and screen
24 x 16 in.
2021
$2,000
Adam Feibelman
Purple Ivy
Enamel on canvas and screen
30 x 20 in.
2020
$3,000
Adam Feibelman
April 30th 10:15am (California Energy use)
Enamel on canvas and screen
6 x 5 ft.
2021
SOLD
Adam Feibelman
Modesto
Enamel on canvas and screen
42 x 30 in.
2020
SOLD
Adam Feibelman
Permutation 4
Cut paper
2019
$8,000
Adam Feibelman
Permutation 2
Cut paper
2019
$4,500
CHAD HASEGAWA
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I grew up going to the beach in Honolulu, Hawaii, where I was constantly surrounded by vibrant color. Fluorescent hibiscus flowers were set against green leaves, and the water was an extreme blue that's only possible in the middle of the Pacific Ocean. We surfers stood out in the ocean with color too. The lineup of surfers, with their distinct combinations of shorts, fins and boards, looked like a huge lei floating on the water. This is where the energy and my bold use of colors in my work comes from. We have a saying in Hawaii, "go big or go home." I use this feeling in the scale of my paintings and also to create with confidence. I'm trying to show the seriousness of a big wave and the comfort of a small wave.
It’s both simple and complex to live in Hawaii. Although you can change, it’s important to be original and true—to be yourself. For example, graffiti was my original language in art. I look at the changes I have made in my art, from my bears to my portraits and now to my minimal abstraction. Somehow I have managed to stay the same. My practice of minimal abstraction isn't new to me. It was a tool I used to create figures in an abstract expressionist way. From those gestural brush strokes I formed my ideas of minimal abstraction. The ideas of these combinations of shapes is what I show today.
Although I've been a San Francisco-based artist for many years, the focus of my art continues to be about the colors and simplicity of Hawaii. There is an honesty in creating minimal art. The effort and difficulties of being complex in a simple way is fascinating to me. There is nothing to hide and there's nothing that you can do to visually make it better. You can visually distort an image only by the use of color. I love when blue touches red. No one dominates the other but together they vibrate and absorb the viewer's vision. But the outcome of minimal paintings can be very literal. You have to find ways of creating tension through shapes and how close you squeeze them next to one another. You have to show math in secret, so you're not using geometry in an obvious way. The math becomes the creative idea. Sometimes I have to sit and wait for that math to come so it is spontaneous and natural.
All of my works start with a drawing. Idea lines first. Then idea shapes. Then idea colors. I check to see if these are my true thoughts. Is this really what I'm trying to say all in one painting? Does the work look like the lineup of the surfers in the water that comes together naturally while they wait for waves? Am I being honest? I make each painting in a series as if it is one part of a singular painting. I use my work as an opportunity to create an installation—to tell a story of meaningful memories of growing up in Hawaii. Being an artist is being yourself.
instagram
Chad Hasegawa
Lean on and Against no.53 (Red and White)
Acrylic on Canvas
96 x 72 in.
2017
$24,000
Chad Hasegawa
Lean on and Against no.51 (Purple, Blue and Umber)
Acrylic on canvas
72 x 60 in.
2017
$15,000
Chad Hasegawa
SF (Black, White, Red Oxide and Lavender)
Acrylic on canvas
84 x 72 in.
2016
$21,000
DANIEL CHEN
Daniel Chen
Manna
40 x 40 in.
Oils on canvas
2023
$12,000
Daniel Chen
A Place to Call My Own
40 x 40 in.
Oils on canvas
2023
$12,000
Daniel Chen
Intersections
56 x 72 in.
Oils on canvas
2020
SOLD
Daniel Chen
Calamity
30 x 20 in.
Oils on canvas
2023
$4,800
JOSHUA RAMPAGE
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The definitive things in life are birth, death, and secrets. Everyone knows what a secret is, and everyone has at least one. To want to know a secret, to have a secret, to keep a secret, to share a secret; that is something ubiquitous. In composition, color, and a sense of musicality, the paintings suggest an excitement that reminds us what it feels like to be alive. These pieces are not simply paintings, or secrets; they yearn to exist as new objects of interest.
Joshua Rampage was raised in and around the foot of Lake Michigan. He has lived and worked in Chicago, Bloomington, IN, Sydney and Melbourne Australia, Iron River, MI, Portland, OR, and New York City. He currently lives and works in San Francisco, California.
website
instagram
Joshua Rampage
She was quick and sure and secret.
Oil and oil stick on canvas
53.5 x 42.5 in.
2022
$6,000
Joshua Rampage
He wondered what she would have done if he had told her a secret.
Oil and oil stick on canvas over cradled birch panel
30 x 24 in.
2022
$2,000
Joshua Rampage
They were secretly glad that their style was cramped, for without some shortcoming they would have been a more serious threat.
Oil and oil stick on canvas
35 x 30 in.
2023
$2,700
Joshua Rampage
They know the secret nature of things too well to be caught in that wanting.
Oil and oil stick on canvas
35 x 28 in.
2020
$2,700.
Joshua Rampage
They wrote secret poetry, and in those days it was sensible to keep it secret. Poetry was a secret vice.
Oil and oil stick on canvas
37 x 29 1/4 in.
2022.
$3,000
Joshua Rampage
She was hidden amongst the trees or windows or designs, like a secret.
Oil and oil stick on canvas
57 1/4 x 53 in.
2021
$7,000
Joshua Rampage
She was convinced that everyone lived secretly and that only she could see through them.
Oil and oil stick on canvas
42 x 38 in.
2021
$4,500