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E is for Everyone

A Collection of Films by artists from Creativity Explored

Curated by Sarah Klein

Based in the Mission District since 1983, CE gives artists with developmental disabilities the means to create and share their work with the community, celebrating the power of art to change lives. The title of the show originates from Trevor Cartmill-Endow one of the artists working in the studios at CE. Trevor summarizes his work as being, “Rated E for everyone”. Saying “I really want everyone to see it.” So consider this your invitation to visit the Peephole Cinema a free public cinema showing media based works, 24 hours a day, 7 days a week through a dime-sized peephole in the Mission District of San Francisco.

On view 24 hours a day

from May 20 to June 30th, 2017

Kevin & Derk: Mystical Creations by Trevor Cartmill-Endow, 2016

Kevin & Derk: The Mystical Creatures is a story full of physical humor as two frenemies play out a game of cat and mouse.
Trevor Cartmill-Endow current work focuses primarily on his use of animation, specializing in the use of stop-motion and Flash. He has spent approximately ten years developing a series of over 20 characters, used in short animated videos that Trevor has been uploading to the Internet since 2008. The nature of Trevor’s work including both his animation and his drawings on paper are extremely lighthearted and comedic.

Hearts and Flowers by Allura Fong, 2015

In Hearts and Flowers the viewer floats above a painted, 3D landscape while artist Allura Fong sings You Are My Sunshine and shares heartfelt ideas about love and acceptance. The camera glides past abstract sculptures that are awash with color, set against ethereal drawings, reflective solids and densely layered paintings.
Allura Fong typically works with an assemblage process. She cuts out parts of her drawings and paintings and collages them together to create a colorful, expressive visage. The layering in Fong’s artwork produces a floating effect that adds to the dreamy quality of her subject matter of hearts and organic shapes.

Tribute to Whitney Houston by Makeya Kaiser, 2016


In Tribute to Whitney Houston Makeya Kaiser captures her deep love and appreciation for the pop icon, adding her own unique twist on Whitney’s famous ballad I Will Always Love You. Each scene is a hybrid of locations combining props and costumes inspired my Houston’s video catalogue with 3D paintings of people and places in Kaiser’s own life. The result is a montage; weaving the celebrity with the fan, the private with the public, and performance with intimate moments. In Makeya’s own words she describes the video as “a statement of her love for Whitney and Whitney’s most well known love song”.
Makeya Kaiser multi-media approach to her films is paralleled in her 2D and 3D work. She moves fluidly through a variety of techniques from painting, drawing, papier-mache and collage.  The final compositions often have little concern for negative space, with the shapes crowding and pushing around over a busily washed backgrounds. Kaiser is always willing to take risk in her art, this engagement with an experimental process gives all her work a defining frenetic quality.

Halloween Animation by Kevin Chu (work-in-progress), 2017


Kevin Chu is working on a series of animation loops set within a spooky graveyard and a devilish underworld. Inspired by Disney’s early Silly Symphony films, all the animation  sequences are made using the traditional method of hand drawn cels with watercolor backgrounds. This film is a work in progress, Chu plans to populate Halloween Animation with 32 characters each providing their own unique movement to the steady overarching rhythm of his film.
According to Kevin Chu, dragons are always smiling, as are vultures, while penguins are happy to offer a tired swimmer a lift across the sea. A glance at his artwork confirms this enthusiastic and vibrant worldview.
The narrative that can be read throughout his work is reflected in his calm, sensitive demeanor. Chu’s bold line and lively palette animate the pieces and link the joy felt in their content to his process. Like a wish for friendship and understanding, Chu’s artistic vision is earnest and motivated by the need for connection between all life-forms, regardless of species.




Archival Films from the Mission Media Arts Archive
—a glimpse into the 1970s and 80s Mission District–

Curated by Sarah Klein

Three short films (a youth council strike, a day in Dolores park and a night of low-rider cars and Cholo pride) represent the teenage, working class and Latino culture during that time. The films come from the Mission Media Arts Archive a collective of filmmakers, Ray Balberan, Ginger L. Godines and Vero Majano who believe that by showing these films to contemporary audiences, we all collectively preserve a past Mission.

from April 7 to May 18th, 2017









Mission Life (film still)


The familiar sights of Dolores Park and Mission High School stand out among images of families, street gamblers and musicians in a film capturing an early 1970ies Mission District.









Sears Picket Line (film still)

Film footage of the Mission Area Youth Council members picketing Sears to demand jobs and respect.

Black Orchid Lipstick (film still)


Black Orchid Lipstick gives us a glimpse into the social scene of teenage girls in the Mission District on a weekend night. This film was originally presented as a video installation in Two-Four Home Girls, Circa 1980 as part of the Solo Mujeres show at the Mission Cultural Center in 2010.

The Curator

Sarah Klein is a San Francisco Bay Area artist, curator and educator. She is the co-organizer of the Croatian Animation Cultural Exchange and has curated for Root Division Gallery, San Francisco, CA, Rhodes & Fletcher, San Francisco, CA and the Present Group’s Art Micro Patronage. Recently she co-curated Doppler Extended Play: A Program of Time-Based Art for the New Jersey Center for Visual Art, Summit, NJ. In 2008 she began curating the animation program Stop & Go that features stop-motion works by visual artists and filmmakers. She recently completed touring the fourth installment of the show called Stop & Go: Made From Scratch.


Three experimental video shorts that explore the process of painting and natural forms using both computer generated and hand processed animation techniques.

Video by Jeremy Rotsztain, Takashi Ohashi & Kynd

Curated by Victoria Scott

from February 15th – April 6th, 2017







Still from  Electric Fields I (Jeremy Rotsztain, 2014)


Electric Fields I (Jeremy Rotsztain, 2014, 01:30), belongs to a 3-part series of software- generated animations that blend virtual worlds and abstract painting. Each animation embarks on a slow, meandering trip through an infinite world filled with colorful software-generated forms. Morphing and expanding, the gesture-like forms simultaneously appear as brush strokes and fields of digital information. Virtual cameras, cartesian perspective, parallax and atmospheric perspective elicit the sensation of floating through a painterly environment.

Jeremy Rotsztain is a Canadian-born artist and software programmer working with computer graphics to explore new modes of abstraction—across video installations, virtual reality worlds, mobile phone applications, and digital prints. Jeremy holds a Master’s degree from the Interactive Telecommunications Program at New York University. His work has been exhibited throughout the United States and internationally, including the Cooper-Hewitt Smithsonian Design Museum, San Jose Institute of Contemporary Art, Yerba Buena Center for the Arts, New York Hall of Science, Grimmuseum, Festival Nouveau Cinéma de Montréal, and New Forms Festival. Jeremy lives and works in Portland, Oregon.


Still from nakaniwa (Takashi Ohashi, 2016)


nakaniwa (Takashi Ohashi, 2016, 03:58) is an abstract animation which uses formal repeating rules; “overlap”, “continue”, “chase”, etc. to create a dynamic moving composition of colored objects. The complex repeating motions of these colorful forms balance feelings of ease and tension, and create a connection with the growth energies of natural phenomenon.

Takashi Ohashi is a Japanese motion graphics designer and animator, who researches the limits and extremes of words, letters, diagrams and visual music. His acclaimed animations have been screened at film festivals and featured internationally in online and print design and culture magazines, including; white-screen, Stash, onedotzero, motionographer, DOTMOV, gizmodo, cartoonbrew and the Creators Project.


Still from Nemumel, (Kynd, 2014)

Exploring the borders between computer graphics and painting, Nemumel (kynd, 2014, 02:38) starts with an empty sheet of a paper, which is gradually taken over by a square, referencing the paintings of Kazimir Malevich. The surface is repeatedly marked with chaotic dripping colors, which then finally loops back to blankness and tranquility.

Kynd, is a Japanese artist/designer, based in San Francisco. Trained as a fine artist in traditional oil-painting techniques, he now creates complex computer algorithms that generate the lush effects of traditional watercolor, oil painting, and mark-making. His work has been featured extensively in both print and online journals, including; CreativeApplications.Net, Wired Magazine, postmatter, gizmodo, and designboom.

The Curator

Victoria Scott is a visual artist working between sculpture and digital media.

Recent projects include constructing material representations of conceptual objects that exist in simulated digital environments, the public commons and in the space of cultural imagination. Her process involves working with electronic media and physical materials to create simulated and real site-specific installations, sculptures and images.

Scott has exhibited at galleries, and museums throughout North America and Europe, including the Centro Nacional de las Artes (Mexico City), San Jose Museum of Art (California), the University of Toronto Art Centre (Canada), Kasia Kay Art Projects (Chicago), Galleri Enkehuset (Stockholm), and the 2010 01SJ Zer01 Biennial (San Jose). She lives and works in San Francisco.


The work of the Philadelphia-based experimental animation collective OOF.

Wig-Wag is a theatrical term for a warning light located above the entrance/exit door to indicate when shooting ends.

Animations by Harvey Benschoter, Amy Cousins, 

Jennifer Levonian, & Jacob Rivkin

Curated by Sarah Klein

OOF was founded in 2012 and holds curated screenings by both emerging and award-winning animators. Their objective is to share the craft of animation with the public and present a networking opportunity for Philadelphia-based animators.

The work presented includes…









Molds by Harvey Benschoter, 2016

An animated mosaic made from images of Jello molds.








Texas Hellfire by Amy Cousins, 2016

Texas Hellfire is made from cut outs of Texas Lantana flower petals and leaves moving across headlines from a small West Texas town in the 70’s. The image shifts fluidly from flames to flowers, grouping and regrouping, while conflicting dates and clashing headlines in the background set the stage for an abstract questioning of who records history and who decides what is beautiful, what is sinful.









Little Skeleton by Jennifer Levonian, 2016

Hand-drawn in candy colors, Little Skeleton is the true story of an eerie coincidence that occurred after a family received a Day of the Dead figurine in the mail. The animation describes a moment when the uncanny interrupted everyday life to unsettling effects.









Floating Archives by Jacob Rivkin, 2016
Floating Archives is a series of animated vignettes based on photographs and etchings that re-imagine the labor, leisure, and obscured histories of the of the Schuylkill River in Philadelphia from 1850 to today.




The Artists

Jennifer Levonian makes animations and paintings in Philadelphia. Her work has been exhibited across the United States, including at the Philadelphia Museum of Art; the National Portrait Gallery, Washington, D.C.; Asheville Museum of Art, Asheville, NC; the Telfair Museum, Savannah, GA, and the Contemporary Museum, Baltimore, MD. She has attended residencies at Skowhegan School of Painting & Sculpture, Bemis Center for Contemporary Arts, Millay Colony for the Arts, and the Atlantic Center for the Arts. In 2009, she was awarded a Pew Fellowship in the Arts.



Jacob Rivkin is an interdisciplinary artist living in Philadelphia, PA. His animations and video work have screened nationally and internationally, including at the Animation Block Party in Brooklyn, NY, the Arlington Art Center in Arlington, VA, and the National Museum of Australia in Canberra.



Harvey Benschoter is an animator and filmmaker. His work has been shown at the Chicago Underground Film Festival, The Ann Arbor Film Festival, The New Museum in New York, The Institute Of Contemporary Art in Philadelphia, The British Film Institute, and many others. He lives in Philadelphia.



Amy Cousins is an interdisciplinary artist from Houston currently living in Philadelphia. She holds an MFA in Printmaking from the Tyler School of Art and a BFA in Printmaking from the Maryland Institute College of Art. Her work explores issues of queerness and normativity within the entanglements of identity, desire, and societal pressure. She has exhibited nationally and internationally in Pennsylvania, New Jersey, Illinois, Australia, and Scotland, among other locations. In 2016 she was the recipient of the Curator’s Choice Award for Beyond the Norm: An International Juried Print Exhibition.


The Curator

Sarah Klein is a San Francisco Bay Area artist, curator and educator. She is the co-organizer of the Croatian Animation Cultural Exchange and has curated for Root Division Gallery, San Francisco, CA, Rhodes & Fletcher, San Francisco, CA and the Present Group’s Art Micro Patronage. Recently she co-curated Doppler Extended Play: A Program of Time-Based Art for the New Jersey Center for Visual Art, Summit, NJ. In 2008 she began curating the animation program Stop & Go that features stop-motion works by visual artists and filmmakers. She recently completed touring the fourth installment of the show called Stop & Go: Made From Scratch.



Three experimental video shorts that depict both real and simulated alien landscapes

Video by Alice Dunseath, Kristin Lucas & Rebecca Najdowski

Curated by Victoria Scott

November 25th – December 31st, 2016

Still from An Interpretation of Perception, (Alice Dunseath, 2015)


Raw EEG data and topographical data graphs were an inspiration for the real world crystal and liquid formations in An Interpretation of Perception, (Alice Dunseath, 2015, 00:49). This intensely colorful animation interprets the organic rise and fall of brain waves as both familiar and otherworldly growths: sharp and erratic movement for the Beta waves and slow and milky for the Theta waves.









Still from: Lo-Fi Green Sigh, (Sarah Lucas, 2004)


Shot on location at Biosphere 2 and in the surrounding Arizona desert, Lo-Fi Green Sigh, (Kristin Lucas, 2004, 01:12 – excerpted from 03:00 original), is a playful pastiche of science fiction movie conventions. With its retro-futuristic architecture, eerily artificial interiors, and otherworldly landscapes, Lo-Fi Green Sigh merges B-movie science and science fiction, with echoes of Roswell, alien life, and extra-terrestrial feedback.











Still from: Give them Distance(Rebecca Najdowski, 2016)


Give Them Distance, (Rebecca Najdowski, 2016, 01:30), explores how we comprehend the cosmos and our place within it. The video consists of thousands of images from slides discarded by a university Earth and Planetary Science department. The effect is an animated journey from earth, through the solar system and space, and returning as images of meteorites that have fallen to earth.


The Artists

Alice Dunseath is a London-based filmmaker and animator. She works with materials, liquids, chemicals, crystals or elements that grow, change over time and have a life of their own. Alice has created title sequences for films and games, commercials for the BBC and Gucci and worked as a third assistant director on Wes Anderson’s ‘Fantastic Mr Fox’. She is an Associate Lecturer at Goldsmiths College, University of London and has screened and given talks about her work at film festivals, exhibitions and universities around the world.


Kristin Lucas is an interdisciplinary artist who explores everyday interactions with manmade systems and technologies in circuitous works that lie somewhere between reality and “reality”. Her work has been presented nationally and internationally, including the 1997 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, Artists Space, and the Brooklyn Museum of Art. Her videos are distributed by Electronic Arts Intermix (EAI) and her expanded body of work is represented by Postmasters Gallery in New York. Lucas lives between New York and Austin.


Rebecca Najdowski is a Melbourne-based artist working in photography, video, and installation. She received her MFA from California College of the Arts and was awarded a Fulbright Fellowship to Brazil, where she produced photographic and video works and created Rocinha Foto Project, a digital photography course for youth in Rio de Janeiro’s largest favela. Rebecca was the first Artist Fellow at the Center for Creative Photography in Tucson, AZ. Her work has been exhibited and screened throughout the United States, and in the Netherlands, Italy, Greece, Brazil, and Colombia.



The Curator

Victoria Scott is a visual artist working between sculpture and digital media.

Recent projects include constructing material representations of conceptual objects that exist in simulated digital environments, the public commons and in the space of cultural imagination. Her process involves working with electronic media and physical materials to create simulated and real site-specific installations, sculptures and images.

Scott has exhibited at galleries, and museums throughout North America and Europe, including the Centro Nacional de las Artes (Mexico City), San Jose Museum of Art (California), the University of Toronto Art Centre (Canada), Kasia Kay Art Projects (Chicago), Galleri Enkehuset (Stockholm), and the 2010 01SJ Zer01 Biennial (San Jose).


Three experimental video shorts that explore the thin boundary between, air/water, and viewer/image

October 9thNovember 20th, 2016 

Videos by Allison Leigh Holt, Bijan Yashar, Toshi Anders Hoo, Eric Freeman & Liza Bender

Curated by Victoria Scott











Glass spheres, resembling a field of floating CGI bubbles, gently roll across the bright blue sky in Three Feet Above Earth, (Allison Leigh Holt, 2016, 01:00). Shot from under a glass tabletop on a sunny front lawn in LA, this short loop is taken from a 40-minute experimental study exploring light and surface.

Allison Leigh Holt (b. 1972) is a cross-disciplinary artist based in Oakland, CA. Working at the intersection of sculpture, video, installation, and performance, she pursues a dialogue between divergent ways of experiencing, comprehending, and describing reality.

Holt has received numerous awards from institutions including the U.S. Department of State (Fulbright Fellowship, Indonesia), Djerassi Artist Residency Program, & the San Francisco Arts Commission. Her work has exhibited internationally, notably at SFMOMA, Stanford University, Anthology Film Archives (NYC), Cemeti Art House (Indonesia) & the Boston Cyberarts Festival. Holt is Vice President of San Francisco Cinematheque’s Board of Directors.













Cycle, (Bijan Yashar, 2002, 01:26 ), is a meditation on attraction, repulsion, life, decay and death. In this study, water droplets are pushed onto the surface of the camera lens from a flower, resulting in an image that is both obscured and magnified.

Bijan Yashar was born in Tehran, Iran and has been living in California since 1979, when he and his family moved to the United States. A Bay Area-based video artist and photographer, Yashar has an MFA in New Genres from the San Francisco Art Institute, and an MA in Educational Psychology from UC Berkeley. His photography and video works have been exhibited and screened at Torrance Art Museum, Napa Valley Art Museum, de Young Museum, and Pacific Film Archive.











In Water Double, (Toshi Anders Hoo, Eric Freeman, Liza Bender, 2013, 02:12), complex emergent shapes are generated from splashing water by slowing down time, rotating and mirroring the footage. Patterns and shapes that are normally unseen to the human eye transform a natural action into a symbolic mandala as both a defiance and a celebration of nature and natural movement.


Toshi Anders Hoo is a San Francisco-based award winning media producer, designer and artist. His projects combine rich immersive media display and projection systems with real-time interaction.

Eric Freeman is an electronic music producer, photographer and video artist. His recent video work is a combination of light painting and time-lapse photography. Eric is based in Somerville Massachusetts.

Liza Bender is a Berkeley-based multidisciplinary artist & designer who enjoys working in creative teams. She makes artwork that explore themes and metaphors found in the textures and micro elements of the natural world.



PEEPERS–Seeing Eye To Eye

Work by Jake Fried, Miranda Javid, JD Beltran & Scott Minneman

August 1st through October 8th, 2016

Curated by Sarah Klein

Artist: Sarah Klein Photographer: John Janca
Poster by Sarah Klein




Jake Fried is an animator based in Boston. Working with ink and white-out, gouache, collage and sometimes coffee he creates mind-bending animations that evolve at a frenzied pace. In Night Vision a gazing eye seems calm in a world of rapid transformations.

Jake Fried has shown his films widely including the Tate Modern, Sundance Film Festival and on Adult Swim. He currently teaches at the Massachusetts College of Art & Design and the Museum of Fine Arts, Boston.



Miranda Javid is a writer, animator and art-educator living in Los Angeles. Her surreal work explores disembodied worlds and transformation through the use of illustration, painting and GIFs. The piece Eyes was created on a whim with notecards and a mechanical pencil. The eyes glance, stare and blink when a pawing hand makes a close pass.

Miranda Javid has shown her work at Commune1 in Cape Town, South Africa, The Baltimore Museum of Art, CTRL = SHFT in Oakland, CA and Vox Populi in Philadelphia, PA. Her work is part of the viewing program at The Drawing Center in New York. She is a Kenan Fellow and a recipient of the Nancy Harrigan Prize, given through the Baker Artist Fund.


Beltran_MinnemanStill copy








JD Beltran + Scott Minneman
JD Beltran is an artist, filmmaker, writer, curator, designer, and educator. Scott Minneman is an inventor and innovative technologist who designs, engineers, fabricates, invents, and exhibits novel physical interactive devices for public spaces.  Their collaborative, award-winning work, utilizing cutting-edge technology, taps into analog forms and blends the narrative and abstract in investigating how materials tell stories.  Screening in the cinema is See is a filmic flipbook reworked of an excerpt of Beltran’s 2010-12 film Evolution.

Beltran and Minneman’s work has been exhibited worldwide, including at the San Francisco Museum of Modern Art, The Rotterdam International Film Festival, Walker Center and in multiple Zero1 New Media Biennials. They have received awards from the Public Art Network Award and New Technological Art Award. Scott is faculty at the California College of the Arts, and Beltran is faculty at both the California College of the Arts and the San Francisco Art Institute, and President of the San Francisco Arts Commission.  They live and work in San Francisco.

The Curator

Sarah Klein is a San Francisco Bay Area artist, curator and educator. She is the co-organizer of the Croatian Animation Cultural Exchange and has curated for Root Division Gallery, San Francisco, CA, Rhodes & Fletcher, San Francisco, CA and the Present Group’s Art Micro Patronage. Recently she co-curated Doppler Extended Play: A Program of Time-Based Art for the New Jersey Center for Visual Art, Summit, NJ.  In 2008 she began curating the animation program Stop & Go that features stop-motion works by visual artists and filmmakers. Currently she is touring the fourth installment of the show called Stop & Go: Made From Scratch.


Reflections On Infinite Systems

Work by Benjamin Popp, Jodie Mack and Sabrina Schmid

May 24th – July 4th, 2016

Curated by Sarah Klein


Artist: Sarah Klein Photographer: John Janca

Poster by Sarah Klein


Benjamin Popp is a filmmaker and animator. In Cinema is Structualist he uses still images of autumn leaves to create image sequences that when stacked one- top-of-the-other create colorful moving patterns. Ben’s interests and past workings in animation and moving image, have led him to working with simple image sequences to explore how they can be constructed into new and different representations of the world.

Benjamin Popp is a Portland, Oregon based artist. He has screened his work at the MUMIA Festival, Ann Arbor Film Festival and the Australian International Experimental Film Festival. Currently he runs the Northwest Filmmakers’ Festival via the Northwest Film Center.


Mack copy

Jodie Mack makes handmade experimental animations that explore the relationship between graphic cinema and storytelling. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. Her work unleashes a kinetic energy of overlooked and wasted objects and question the role of decoration in daily life. In Screensavers she employs collage of mesmerizing computer graphics to highlight rapid technological obsolescence and the role of abstract animation in everyday life.

Jodie Mack is based in New Hampshire. Her work has screened at a variety of venues including the Ann Arbor Film Festival, Edinburgh International Film

Festival, Images Festival, New York Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art and Wexner Center for the Arts among others. She currently works as an Associate Professor of Animation at Dartmouth College, where she co-organizes an experimental media series, EYEWASH, and serves as the 2015-16 Sony Music Fellow.



Sabrina Schmid makes experimental animations that explore the potential of abstract form. Coincidence 1 is a playful animation where varied geometric fundamentals rearrange themselves into endlessly changing abstract patterns.

Sabrina Schmid has been based in the United Kingdom since 2001 where
she teaches animation as Senior Lecturer in Animation at Teesside University and practices her own creative animation as a researcher at the Institute of Design, Culture and the Arts. Her background in animation includes study in fine art painting as well as in animation. Originally living and working early on as an independent filmmaker in Australia, she relocated in 1997 to work as freelance animator in Europe, initially in Switzerland, Austria, France and Germany. This then led her to teaching animation in the UK. Her work has been screened widely including the Los Angeles International Underground Film Festival, London International Animation festival, Melbourne International Animation Festival and Punto Y Raya Festival in Spain.



Elemental Designs for a Malleable World

Work by Beth Krebs, Joanna Priestley, Jill Taffet

March 28th – May 22nd, 2016

Curated by Sarah Klein

Artist: Sarah Klein Photographer: John Janca

Poster by Sarah Klein



Beth Krebs creates installations and media based work that celebrates the earnest, heroic, and usually botched human efforts at transcendence. In her video Plumb, excerpted for the Peephole Cinema, a fleshy blob undulates and stirs, slowly gathering momentum in an effort to lift off.

Beth Krebs is a recent transplant from Brooklyn to Oakland. Her work has been exhibited in galleries and alternative spaces in New York City and abroad including the Brooklyn Academy of Music, Smack Mellon, the Bronx Museum, Storefront Ten Eyck, the Cue Foundation, Real Artways, and the Elizabeth Foundation Project Space. In June she will have a second solo show with Station Independent Projects in New York. She is the recipient of grants from the Buchegger Foundation and the Joan Mitchell Foundation and she earned her Masters of Fine Arts from Rutgers University in New Jersey.


Joanna Priestley has produced, directed and animated 27 films and one iOS app. Her work maintains a high level of porosity between serious exploration of boundaries and intuitive whimsy and she is dedicated to experimentation in technique, theme and content. In xo1 she juxtaposes abstract motifs inspired by tribal tattoos with ordinary still life objects.

Joanna Priestley is a Portland, Oregon based artist. Her films have been screened around the world including a recent retrospective at the Museum of Modern Art in New York and at many venues including the REDCAT in Los Angeles, Hiroshima Animation Festival in Japan, American Cinematheque in Los Angeles, Jenju International Film Festival in Korea, Masters of Animation Festival in India, Stuttgart Animation Festival in Germany and the Center for Contemporary Art in Poland. Priestley has received awards from the National Endowment for the Arts and American Film Institute among others. She graduated with a Masters in Film and Video from California Institute of the Arts.




Jill Taffet is a moving-image artist who creates video installations, animated GIFS and new media. In Abiogenesis biomorphic shapes arise from the darkness, morphing and dissipating into never-ending life cycles. This piece was originally created at Harvestworks Artist-In-Residence program in New York City and is inspired by the theory that life can spring from non-living matter.

Jill Taffet is a San Francisco and Florida based artist. Her work has been exhibited nationally and internationally including exhibits at The Unpainted Fair in Munich, The Last Brucennial in New York, Interrupting Entropy: Selections From the Betlach Collection in California and InLight in Richmond. In 2015 Taffet was selected to be an Artist-In-Residence at Harvestworks in New York. She received her MFA at SFAI in San Francisco.


Work by Eric Dyer, Johan Rijpma, Caleb Wood

February 15th – March 27th 2016

Curated by Sarah Klein

Artist: Sarah Klein Photographer: John Janca

Poster by Sarah Klein












Eric Dyer is an artist, filmmaker, experimental animator, and educator. He has animated umbrellas, vinyl records and even a hot air balloon. In Coversong he finds motion hidden underfoot by animating manhole covers.


Eric Dyer is a Baltimore based artist. His award-winning films have screened internationally at numerous festivals, including the Chicago International Film Festival, the Ann Arbor Film Festival, South by Southwest, and the London International Animation Festival among many others. His work has been exhibited at the Exploratorium, the Hirshhorn, the Smithsonian National Gallery of Art, Prix Ars Electronica and the Cairo and Venice Biennales. He is a recent recipient of a Creative Capital award and is currently working on a tunnel zoetrope.











Johan Rijpma makes short animations that study systematic procedures and the unpredictability of everyday life. He sparks fascination in such common items as paper, plastic tape, balloons, slate and water. In Tegels he photographed street tiles and set them in motion to find their hidden melodies.


Johan Rijpma is based in Utrecht. He studied image and media technology at the Utrecht School of Arts. His work has received multiple awards and has been screened at an international selection of venues including the Eye Film Institute, Visual Arts Center of New Jersey, Animateka, Klik and Prix Ars Electronica. Currently he is a resident at JAPIC in Tokyo.













Caleb Wood is interested in the dynamism of what might be overlooked or mundane. He has an urge to get closer and understand things better and uses animation as a way to make the complex more approachable. In his work Bird Shit he used animated cellphone photos of bird droppings on pavement to reveal bird behavior.


Caleb Wood is an independent animator living in northern Minnesota. He graduated from the Rhode Island School of Design and he has been honored with a residency at JAPIC in Tokyo. He has screened his work in numerous festivals including the Ann Arbor Film Festival, Eye Works Festival, Ottawa International Animation Festival and the Stop & Go festival among others.



Work by Felipe Castelblanco, Kate Nartker and Victoria Scott

January 2nd February 14th, 2016

Curated by Sarah Klein

Artist: Sarah Klein Photographer: John Janca
Poster by Sarah Klein









Felipe Castelblanco is a multidisciplinary artist, working at the intersection of socially engaged and new media art. Through urban interventions, video, performance, sculpture and networked installations, he creates participatory experiences of publicness that enable coexistent encounters between unlikely audiences and vast distances. Atlantic / Pacific is a video and performance project connecting two remote locations. In this piece he creates a fictional landscape that undermines our logic and sense of place. The walks in this piece were captured at different moments when the artist became a wanderer through spaces that are radically disconnected or that live in conflict with one another like Cuba and the U.S.

Felipe Castelblanco is a London based artist. His work has been shown at the San Diego Museum of Art, FAD festival in Belo Horizonte in Brazil, FIVAC festival in Camaguey Cuba, the Miller Gallery in Pittsburgh, PRACTICE Gallery in Philadelphia, Valenzuela Klenner Gallery in Bogotá Colombia and on street corners and in storefronts throughout United States. Felipe is the recipient of the 2013 John Fergus Post MFA Fellowship from the Ohio State University, the Starr Fellowship at the Royal Academy in London and a Kala Art Institute Fellowship in Berkeley.

Kate Nartker_Still










Kate Nartker involves the use of digital tools and cinematic methods to introduce elements of time and movement through textile works. In Streetfair 1970 she creates an animation made from frames of quilted squares.  Using a process called Trapunto the imagery (generated originally through film footage) is stuffed with batting to achieve a relief effect. The making of the animation resulted in an accompanying quilt 60 x 48 inches in length.


Kate Nartker is a San Francisco based artist.  She received a Phelan, Murphy & Cadogan Fellowship from The San Francisco Foundation, as well as the Arts Award from the Northwest Area Arts Council. She has exhibited at The Contemporary Austin in Texas, Alter Space in San Francisco, Root Division in San Francisco and the Hordaland Art Center in Bergen, Norway. She received an MFA from the California College of the Arts in 2012 and is a lecturer in the Art Department of San Francisco State University. She is represented by Jack Fischer Gallery in San Francisco. 


Victoria Scott_Still









Victoria Scott is a San Francisco based artist. She incorporates electronic media, physical materials and interventions into her art practice. For the series Winnipeg Time Loops she explores the overlap of time and memory that occur when we revisit the place we lived as an adolescent.


Victoria Scott has exhibited widely in galleries and museums throughout North America and Europe, including the Centro Nacional de las Artes in Mexico City, San Jose Museum of Art in California, the University of Toronto Art Centre in Canada, Kasia Kay Art Projects in Chicago, Galleri Enkehuset in Stockholm, Plug-In Institute of Contemporary Art in Canada and the ZERO1 Biennial in California. Project commissions include the San Jose Museum of Art, ZERO1: The Art and Technology Network and a commission. She is also the recipient of several grants from both the Canada and Ontario Arts Councils.




A cinematic experience of glamorous places and nostalgic spaces

Work by Ellen Lake, Jacob Rivkin and Charles Woodman

November 2nd 2015 – January 1st, 2016

Curated by Sarah Klein

Artist: Sarah Klein Photographer: John Janca

 Poster by Sarah Klein







Ellen Lake makes films, videos, sculptures and installations. Her most recent projects explore the evolution of technology and combine vintage home movies with disposable media from today. In Queens Lane home movies from 1939 are edited and animated to give us a glimpse into the daily routines of a young couple of the not so distant past.Ellen Lake is an Oakland, CA based artist. She is a recipient of many awards including the Artist Project Grant from the City of Oakland’s Cultural Funding Program, Alternative Exposure grant from Southern Exposure, Experimental Media Arts Lab residency at Stanford University, Sarah Jacobson Film Grant anda Bay Area Video Coalition’s Mediamaker Award. She currently works at the Kala Art Institute in Berkeley, CA.








Jacob Rivkin is an interdisciplinary artist whose work focuses on our experience of landscape through memory, desire, and autobiography. In Flats and Wagons he takes vintage postcards and moves them like theater sets to reveal new and unrealized landscapes.

Jacob Rivkin is a Philadelphia, PA based artist. His animations have screened nationally and internationally – including the Animation Block Party in Brooklyn, NY, Vox Populi in Philadelphia, PA, and Stop & Go a touring animation screening. He currently teaches animation in the undergraduate Fine Art department at the University of Pennsylvania.









Charles Woodman is an electronic artist working in video and expanded media. Roman Spa is one of a series of “video riddles” produced during a residency at the Headlands Center for the Arts in Sausalito that will eventually find use in a hospital waiting room.

Charles Woodman is a based in Cincinnati, OH. Exhibitions of his work include screenings at the Museum of Modern Art in NY, Block Museum of Art, Chicago, IL, Black Maria Film and Video Festival, Edison, NJ, American Dance Festival, Raleigh, NC, and the San Francisco Cinematheque. He was a founding member of the video performance group viDEO sAVant and has been a pioneer in the development of live cinema – real time video editing as live performance. He currently is a professor at the University of Cincinnati School of Art.



Crossings in color and motion
Work by Emily Alden Foster, Mel Prest and Leah Rosenberg.
September 21 – November 1, 2015

Curated by Sarah Klein

Artist: Sarah Klein Photographer: John Janca
Poster by Sarah Klein











Emily Alden Foster incorporates a wide variety of materials and processes into her animated, live action videos and Zines. In Watercolor Animation Experiment #1 she paints tiny blue watercolors of dashes, blobs, dots and squiggles and then animates them to find their natural rhythm. The piece is an investigation for an upcoming animation to be expanded into many more colors and forms.

Foster has been making animations since the first day she owned a digital camera. Foster has shown her animations in This Will Never Work at Southern Exposure (San Francisco), Stop & Go: Made From Scratch (touring), Animated Type Showcase (Portland) and Art of Letterpress II at The Compound Gallery (Oakland). She also runs Womanzine Delivery Service and helps to organize the San Francisco Zine Fest.













Mel Prest is a non-objective painter whose work is focused on color and perceptual visual relationships. The inherent systems she creates in her work are intuitive and in colors she extracts her work from observation and accidents. In Untitled (Orange) she works with shapes and gradients to explore our perception of the color Orange and the afterimages of 2D and 3D.

Prest is an artist, curator and educator living and working in San Francisco and occasionally in New York. Recent solo shows include: COLOR CHANT at Chandra Cerrito Contemporary (Oakland), MoonBrightChime at Galleri Urbane (Dallas), ZeppelinMetroMashup at B Sakata Garo (Sacramento). Prest has been awarded artist residencies at Ragdale, The Sam and Adele Golden Artist Foundation, Willapa Bay AiR, The Wassaic Project and Vermont Studio Center, among others.












Leah Rosenberg makes paintings, paint-based sculptures, and cakes. Her process combines systems of accrual and layering techniques by way of color and stripes, to explore how our experiences and memories literally pile up. Her stripe paintings, prismatic sculptures and thematic cakes all aspire to delight our senses through a combination of every color, every day. In Oranges, Leah merges her interests in color and flavor by selecting items we consume and painting swatches of orange in attempting to match it to a paint color, piling up the arrangement until it fills the screen or falls apart.

Rosenberg moved to San Francisco from Canada to pursue her MFA at the California College of Art, where she wrote her thesis on the artistic possibilities of cake. She worked as the lead pastry chef for the rooftop coffee bar at SFMOMA where she applied her love of art, artists and cake-making to dream up desserts celebrating the museum’s work. Recent exhibitions include Happiness Is… at the Montalvo Arts Center (Saratoga), Pairings at Galleri Urbane (Dallas) and Bay Area Now 7 at Yerba Buena Center for the Arts (San Francisco).



 Observing Orbits in the Known and Unknown Universe

Work by Benjamin Ducroz, Patrick Feaster and Jenny Vogel

August 10th – September 20th, 2015

Curated by Sarah Klein

Artist: Sarah Klein Photographer: John Janca
Poster by Sarah Klein



Benjamin Ducroz creates dynamic videos and animations that explore form, pattern and movement. In Pendulum (2014) we feel that forceful pull of gravity as we observe the sway of a hand-made sphere in the New Zealand landscape. Watch carefully as you may feel a little dizzy afterwards.

Ducroz is an animator and motion designer based in Melbourne, Australia. His work has been exhibited and screened in galleries and festivals all around the world including the International Animation Festival (UK), Onedotzero (UK), Asian Art Biennale (Taiwan), Australian Centre for the Moving Image and Rencontres Internationales (Paris/Berlin/Madrid).













Patrick Feaster is on a mission to resurrect long-vanished voices and sounds. He also experiments with visual sources and is currently animating historical astronomical charts. In a series of GIFs he takes still images of celestial observation (from 650 – 1650 AD) and makes them into moving ones. With this gesture he bridges a gap between reflection and motion.


Feaster is a specialist in the history, culture, and preservation of early sound media.  He is a three-time Grammy nominee and co-founder of the First Sounds Initiative. His book Pictures of Sound, One Thousand Years of Educed Audio: 980-1980 was a 2014 Grammy Award Nominee for the Best Historical Album. He has a doctorate in folklore and ethnomusicology from the Indiana University in Bloomington, where he is now the Media Preservation Specialist for the Media Digitization and Preservation Initiative.














Jenny Vogel examines the anxiety of alienation, the desires for communication and a sense of be-longing in a virtual world. In Makers of Myths (2010) she uses low-resolution photocopies and animation techniques to create a circling quad of gridded and identical planets. The spheres rotate continuously around a candle, placed on a table, suggesting a practical dimension to gravitational momentum.

Vogel works in video, photography and computer arts. Her work explores the world as viewed through new media technology using web-cameras, blogs and Google searches as source material. She received her MFA from Hunter College (NYC) in 2003. She is a 2005 NYFA fellow in Computer Arts and is currently Assistant Professor of New Media Art at the University of Massachusetts. Her work has been screened and exhibited in group and solo- shows in numerous locations and galleries: Storefront Gallery (New York), The Dallas Museum of Art (Texas), McKinney Contemporary (Texas), San Francisco Camerawork (California), Arnolfini, (UK), The Siberia Biennial, (Russia), Kunstwerke (Berlin), PS1 Contemporary Art Center (New York).


Summer 2015


June 27 – August 9, 2015

 Three artists repurpose vinyl records and perform with turntables to make moving images

The Philosophy of Storms by Elise Baldwin (2014)

Hit Parade by Gilbert Hsiao (2015)

Modern Vanitas by Katie Turnbull (2012)

Curated by Sarah Klein

Artist: Sarah Klein Photographer: John Janca

Poster by Sarah Klein












Elise Baldwin creates dioramas on vinyl records and combines them with found footage to create audiovisual performances. Her piece The Philosophy of Storms is inspired by her fascination with early meteorological science and storm watching, as well as our cultural shift from a faith-based society to a scientific one. In the Victorian era, storms were often interpreted to be signs from God or indications of coming end times. With the evolution of recording and communication technology, our collective perceptions of weather shifted towards scientific and predictive models. As always in her work, there is a tension between the natural world and the technological means that we use to measure and record it.

Elise Baldwin is an intermedia performer and sound artist based in Oakland. Her live cinematic works center around themes of natural history, collective memory and relationships between technology and the natural world. Using custom software instruments, physical props and circuitry, she often combines and manipulates original and archival recordings and footage. She has spent much of the past two decades working as an audio director, multimedia producer and video editor on gaming and educational projects. Creating sound design and musical compositions for performances and film productions, she has had the good fortune to collaborate with many talented musicians, dancers, performers and theater companies. She has received several awards, including Experimental Television Center and CESTA residencies, a Harvestworks Artist in Residency, and the Frogs Peak Award for Experimental Music.










Gilbert Hsiao is an avid record collector and artist who makes perceptually based works in many mediums. For Hit Parade he painted linear patterns in fluorescent paint on over a 100 different 7” 45’s 78rpm and regular 12” 33 rpm records. This video is a document of an interactive installation he created at Contemporary Arts Museum Houston in 2013-2014. In a room lit with UV light Hsiao welcomed the audience to layer and re-mix the records, creating undulating moving paintings.

Gilbert Hsiao is a visual artist based in New York City.  Raised in Indiana, he attended Columbia University in the seventies, where he studied the art history and the psychology of perception.  He worked as a disc jockey at the Columbia University radio station, where he first developed an interest in music that has fueled his practice for four decades.  He received his BFA at Pratt Institute.   His paintings have always incorporated abstract illusions of space, motion, light and time.  More recently, while continuing his explorations in painting, he has begun to explore various forms of installations and assemblages that utilize those elements (space, motion, light and time) not as illusions but as real elements in themselves. He has participated in residencies at Art Omi (Omi, New York), Marie Walsh Sharpe Foundation (Brooklyn), Millay Colony for the Arts (Austerlitz, NY), and Gallery Aferro (Newark, NJ) and was a New York Foundation for the Arts Painting Fellow.   His work has been seen in such institutions as P.S. 1, Contemporary Arts Museum Houston, the Indianapolis Museum of Art, MassMOCA and the New Jersey Center for the Visual Arts, as well as in commercial galleries and alternative spaces and throughout the Americas, Asia, Europe and Australia.










Katie Turnbull mixes analogue and digital practices in a contemporary version of the modern-day zoetrope. For Modern Vanitas precise icons of life, death, time, digital technology and other iconography are printed on clear plastic disks. The disks are stacked in sequence giving the illusion of 3d form and then played on a turntable into infinity. This is piece was commissioned by Experimenta in 2012.

Katie Turnbull is an Australian visual artist based in Sydney. Turnbull’s background in animation has seen her practice follow a natural progression from digital screen based work to kinetic sculpture. With ‘animation’ meaning to bring objects and drawing to life, through the illusion of movement, Turnbull creates ‘time based sculpture’. Taking as her subject matter the history of the moving image, psychology, patterns in crowd behaviour and the overlap with patterns in nature. The work explores these themes providing interactive, playful and often tangible ways of experiencing the moving image combining pre-cinema objects, mapping, animation and lo-fi electronics. She completed her Masters in Animation & Interactive Media from the Royal Melbourne Institutute of Technology (RMIT) and has a Bachelor of Digital Media from the College of Fine Arts at the University of New South Wales. Since graduating Katie has been active creating new work and exhibiting in various Australian galleries and museums, and has travelled overseas to undertake workshops and further study in the US, Iceland and Austria.

Sarah Klein is an artist, curator and educator.  Her art practice includes live action and stop-motion animation and she uses paper cutouts to create narrative and abstract works. In 2008 she began the curatorial project Stop & Go ( that features stop-motion works by visual artists and filmmakers.


Summer 2015

Invasive Presence

Selin Balci and Nora Howell

Guest Curator Kayleigh Bryant-Greenwell

Washington, DC based curator Kayleigh Bryant-Greenwell presents recent works by Baltimore-Washington based artists Selin Balci and Nora Howell.  These films, though very different in content, reflect on the challenges of modern day life.  The viewer is confronted with invasive imagery of power struggles both human and environmental.  Balci’s microscopic entities compete for their livelihoods in her visually dramatic biomorphic arena. Howell’s endeavor to free her face from the mysterious white goo is equally theatrical and reflective of the challenges of interaction.  Both artists present the viewer with adversarial material to digest slowly in consideration of their place in the world.

Nora Howell

Nora Howell







Through performance-based sculpture and video, I explore ‘whiteness’ and what it means to be white. Racial Make-up came out of my personal reflection and response to teaching in the Baltimore city school district. I was one among dozens of young-white-female-new-to-teaching teachers in a predominately black student school district. In my effort to build trust and rapport with my students it became evident that no matter my political and social views on race and racism, my skin color would always inform how my students and I perceived of and interacted with each other. Racial Make-up is about accepting my collective white identity, balancing loving myself without denying the historical and contemporary oppression maintained by and through my whiteness.

Nora Howell is a white artist from Cincinnati. She is the program director of Jubilee Arts a community arts center in west Baltimore. She received her MFA in Community Arts from the Maryland Institute College of Art and a BA in studio art from Wheaton College and studied at the New York Center for Arts and Media Studies [NYCAMS] in New York City. She is a Hamiltonian Artist Fellow Amuni. Her work has appeared in solo exhibitions at the Hamiltonian Gallery and Bromo Seltzer Tower. Her work has been featured in group exhibitions at the Wallach Art Gallery of Columbia University, The Katzen of American University, Mrytis Art Gallery, The Maryland Institute College of Art, The H&H, Wheaton College, and Bethel Universit

Selin Balci

Selin Balci







In my work, I reference the fundamental, underlying social dilemmas and principles of our existence in an effort to understand and highlight social issues. My concepts are explored using living entities such as fungus and mold to recreate observable interactions and conflicts across the picture surface, where the outcomes reveal boundaries, edges and distinctive forms.

I use highly patterned and colored microscopic entities to create lushly visual and interactive biological arenas. I create competition for resources, territorial wars, and struggle for power and control among living organisms in an artificially created environment where all vital resources are restricted. This limited environment makes microbes compete for resources, dominate a particular area or become invasive and endanger others. When they share the same living platform, a conflict for resources arise and eventually this results with a borderline. The behaviors of the microorganisms resemble human actions and motives. Visually representing the maps and aerial scenes, these microbes act as metaphors for war and the human predicament.

Selin Balci uses microorganisms as her medium. She creates a biological arena on the picture surface by using microorganisms’ color, form and texture. Constantly discovering and combining the scientific material and mediums, Balci applies an acute scientific laboratory practice to create her work. Conceptually, she references the fundamental, underlying social dilemmas and principles of our existence in an effort to understand and highlight social issues. Balci’s many accolades include the prestigious College Art Association (CAA) 2012 Professional-Development Fellowship, So-Hamiltonian Fellowship in Washington, DC, 2013 Bethesda Urban Partnership’s Trawick Prize Finalist Award and Smack Mellon’s Hot Picks Artist Award. Numerous galleries have mounted solo and group exhibitions of Balci’s work including the Hamiltonian Gallery, DCAC (District of Columbia Arts Center), WPA (Washington Project for the Arts), ConnerSmith Gallery, Honfleur Gallery in Washington, D.C, Rush Arts Gallery and Smack Mellon in NY.  Balci received her BSc from Istanbul University, BFA from West Virginia University and MFA from University of Maryland. She is currently teaching college level courses in studio art and art history in Maryland area.



Kayleigh Bryant-Greenwell is a Washington, D.C. based curator, writer, and arts manager.  She has curated several widely popular contemporary art exhibits including “Play by Play” in partnership with FLEX curatorial initiative and Project 4 gallery. In 2015 she explores curatorial practices through the residency programs of DC Arts Center and VisArts in Rockville, MD.  A writer for all things art, her work has been featured with The Washington Times,, CBS Local DC online, Brightest Young Things, among others.  In focusing on advancing the careers of local artists, she has developed professional development seminars as well as a residency program for local emerging artists.  Additionally, she has worked with many cultural institutions including the Smithsonian Institution, the Walters Art Museum, the National Archives and the David C. Driskell Center collection at the University of Maryland, College Park.  Her insights on art and culture have led to cooperative efforts with the D.C. Commission on the Arts and Humanities and the Annual Downtown Hyattsville Arts Festival. KBG earned her B.A. in Art History from the University of Maryland, College Park and her M.A. in Museum Studies from the George Washington University. She is the DC Regional Programs Chair of ArtTable in Washington, DC.

Spring 2015

Sam Green

N Judah 5:30

 Guest curated by Natalie So


N Judah 5:30

“A melancholy train ride filled with small, rich moments.”  

Was first premiered as a short at the 2004 Sundance Film Festival

Sam Green is a documentary filmmaker based in San Francisco and New York. He’s made many movies including most recently The Measure of All Things and The Love Song of R. Buckminster Fuller, a live cinematic collaboration with the indie rock band Yo La Tengo. His documentary The Weather Underground was nominated for an Academy Award and included in the 2004 Whitney Biennial.

Natalie So is currently the editor-in-chief of Edition Local. She is a writer, producer, and curator living in the Mission, and loves collaborating with other artists. Most recently she hosted and curated a 22-artist pop-up show out of her own apartment called New Geometries.

Winter 2014/2015

Curated by Justine Topfer

Kota Ezawa,

Home Video, 2001 and Paint Unpaint, 2014



Kota Ezawa is a San Francisco-based artist who often reworks images from popular culture, film and art history, stripping them down to their core elements. His simplified versions remain easily recognizable and potent, the result of a process that illuminates the hold certain images have on their viewers. Working in a range of mediums such as digital animation, slide projections, light boxes, paper cut-outs, collage, print and wood sculptures, Ezawa maintains a keen awareness of how images shape our experience and memory of events. His work has been shown in solo exhibitions at Hayward Gallery Project Space, London; Artpace, San Antonio; and the Wadsworth Atheneum Museum of Art, Hartford. He participated in group exhibitions at Museum of Modern Art, New York; Warhol Museum, Pittsburgh; and Musée d’Art Moderne de la Ville de Paris.


Fall 2014

Jefferson Pinder, Juggernaut, 2011

Curated by Justine Topfer


The work of Chicago-based artist Jefferson Pinder, inhabits the body employing physical prowess and grueling endurance. His artwork reflects his interest in using the black body as medium to explore strength and politics. Particularly focusing avant-garde physical theatre and Afro-Futurism, he creates dynamic meditative events, allowing for communion between the performers with the spectators. Pinder’s work has been featured in numerous group shows including exhibitions at The Studio Museum in Harlem, the Wadsworth Athenaeum Museum of Artin Hartford, Connecticut, and the Zacheta National Gallery in Warsaw, Poland. Pinder is represented by Patricia Sweetow Gallery in San Francisco, and is an Associate Professor at the School of the Art Institute of Chicago.

Summer 2014

Miguel Arzabe, Letting Go of Falling In, 2011

Curated by Justine Topfer


Letting Go of Falling In is a meta-video comprised of vignettes from work made over the course of two years filmed in diverse natural locations.

Spring 2014

Bicoastal Sightlines

Curated by Justine Topfer and Laurie O’Brien

Sightlines by Miguel Arzabe, 2010

Shot through a telescope of the TransAmerica Pyramid from locations on public lands at the same elevation as the apex, Arzabe film portrays a unique perspective of San Francisco.

The Ferry by Michelle Harris, 2001

During her second year living in New York City, Michelle commuted to school and work on the Staten Island ferry. One foggy morning in 2001, she brought her camcorder along on the commute. How could she have begun to anticipate what would happen a month later?

Summer 2013

Cinema Ombligo

Curated by Laurie O’Brien


Bright Mirror by Paul Clipson (except) 2013  4:30

Ballistic Jaw Propulsion of Trap-Jaw Ants by Encyclopedia Pictura in collaboration with Brent Hoff of Wholphin DVD Magazine 2006  3:06

Schematic by Giselle Brewton 2013   1:27

Grace by Lorelei Pepi 1998  5:30



San Francisco filmmaker Paul Clipson often collaborates with sound artists and musicians on films, live performances, and installations. Aiming to bring to light subconscious visual preoccupations that reveal themselves while working in a stream of consciousness manner, his films combine densely layered, in-camera edited studies of figurative and abstract environments, in a process that encourages unplanned-for results. His films and collaborative performances have been presented at many festivals, galleries and venues around the world.



Giselle Brewton is a Northern California based artist, originally landing in San Francisco from Melbourne Australia to attend S.F.A.I.   She works in the medium of film, photography and printmaking, rescuing discarded objects and materials, transforming their texture and form through images, exploring details that may otherwise go unnoticed. She is also Co-editor of “Bagazine” an Artist collaboration project exploring the assemblage landscape and modern subculture of Bagism and creative happenning.




Encyclopedia Pictura is Isaiah Saxon, Sean Hellfritsch and Daren Rabinovitch.
They’re a directing team working in film, art, game design, community building, and agriculture.The trio grew up in Santa Cruz County, CA and began collaborating on films in San Francisco in 2003. Their unorthodox, hands-on working style often includes direct creation in all aspect of production – writing, designing, painting, sculpting, animating, photographing, directing, editing, compositing, and scoring. EP has won numerous awards for their music videos, including Video of the Year from DA&D, UK VMA, Antville, and Spin Magazine. Esquire called them “The Directors of the Future.” From 2008-2011, EP led an effort to build a unique hillside neighborhood and farm called Trout Gulch. They lived and worked there along with 15 others. In 2012, they co-founded DIY in San Francisco, with Vimeo co-founder Zach Klein and OmniCorp Detroit co-founder Andrew Sliwinski. Saxon also volunteers as Media Advisor to Open Source Ecology. They are passionate about gardening, farming, construction, villages, augmented reality, science visualization, social ecology, technological empowerment, adventure, and country living.



Lorelei Pepi is an internationally award-winning independent animator, whose work ranges from the highly experimental “Grace,” to the narrative cartoon “Happy & Gay.” Her use of animation is as a tool of personal expression, engaging with projects that extend her voice in alternative ways. Her professional track includes roles as professor, creative director, commercial director, art director, animator, illustrator, sculptor, mold maker, and web-based interactive media creator.
She has been recognized with numerous grants, including the LEF Moving Image Fund, a Harvard Film Study Center Production Grant & Fellowship, Rhode Island State Council on the Arts, Fellowship Merit Award and a MacDowell Fellowship. She received her BFA from Rhode Island School of Design in Illustration, and her MFA from California Institute of the Arts in Experimental Animation. She is currently teaching animation at Rhode Island School of Design, and has also taught at the School of the Museum of Fine Arts in Boston, Harvard University, Wheaton College (MA), the Rochester Institute of Technology, and California State Summer School for the Arts.


Peephole Cinema creator, Laurie O’Brien is an artist working in video, installation, animation, performance and puppetry. Her work is inspired by the outdated, the hand-made and the mechanical combined with the digital.   She is particularly interested in dual identities, alternate worlds and our attraction to deception. She currently teaches Visual Media in the Photography Department at RIT in New York.