Artist Statement

The colors and shapes of plants inspire me. This spring, I started taking pictures of plants around Stanford and Carnegie with my iPhone.

The closer I got to the flowers and leaves, the more shapes and colors I saw, just like peering into a tide pool and discovering more and more creatures.

I noticed some unexpected things from taking these pictures. Things that look ordinary from afar can be breathtaking close-up. Fading flowers are more intricate and complex in their shapes and colors than buds or flowers in their prime.

This project has made me a better observer of things and I hope to take this experience to become a better observer of people in the future.

Inquires about the artwork can be made by email at:

Sue Rhee

Iterations of Nature: Series I: Botanical

The photographs for this series introduce unique designs based on botanical forms. Each image begins with a core pattern. Every iteration of the core is a reflection of its adjoining patterns (flipped front to back, left to right). By replicating mirror images of the core pattern multiple times, a design emerges that actively engages the viewer.

Similar-looking repeating images bring fractals to mind but these photographs are at the other end of the representational spectrum. Fractal patterns -- studied at a small scale -- provide statistical models for describing seemingly random patterns (snowflakes, coastlines and galaxies, for example) that exist at larger scales in the real world. Thinking of fractals in this way, they go from abstract to concrete as their arrangements scale up. By way of contrast, the images in this exhibit start with a photo of a real, concrete object that becomes increasingly abstract as the composition grows. It takes your imagination to decipher and comprehend the finished design.

However, finding the core photograph is not essential for enjoying these images because the initial pattern morphed into a larger design. Gazing at a whole image is a reminder that vision is not a passive process and that we are never just observers looking at an object. Instead, as we contemplate the picture before us -- for a moment, for a while -- our mind is connecting and categorizing pieces of the whole; only those parts that have some personal meaning enter into our awareness. We may glimpse vaguely familiar points of reference, but we usually have to work at seeing something recognizable: a face; an alien life form; a stylized landscape.

What we find within any of these images can change from time to time; it can also differ depending on viewing distances, angle of perspective and lighting effects. When I started creating these images, I had not expected to continue discovering new patterns embedded within a whole photograph. So it always catches me by surprise when I come across a new visual relationship or a fresh face looking back at me. What is even more fascinating is the realization that the previously undiscovered pattern was there -- all along -- waiting to reveal itself.

Jim Brockmeyer
Christina Lake, British Columbia
November, 2012



I shot the original core pattern images in this series with a basic SLR Pentax camera fitted with a 50mm (1:2) lens and using Fuji professional 35mm slide film. High resolution scans of those slides were then manipulated to  assemble the enlargements. Most of the original photographs were taken of plants that I grow in my nursery.

To view these and other photographs online, please go to:

Previous Exhibitions

My photographs have been exhibited at other art galleries prior to this (at the places listed below). This is the first time that a series of my “Iterations of Nature” photographs has been on display.

October, 2008 - January, 2009
“Fotonarrenen Im Garten”
Krishaus in Forst (Lausitz), Germany

May 2 - May 30, 2008
“Shutterbugs in the Garden”
Revelstoke Art Gallery; Revelstoke, British Columbia

August 7 - October 13, 2007
“Shutterbugs in the Garden”
Grand Forks Art Gallery; Grand Forks, B.C.

001 Corn Smut, 014 Dead Valley Oak covered with Lavendar Coloured Balls, 013 Moss Hanging on Douglas Fir Twigs, 012 Maple Leaves with Shadow, 011 Walla Walla Onion Seedlings, 010 Vernal Sedge, 009 Miscanthus Sinensis (Malepartus), 008 Miscanthus Sinensis (Rotsilber), 007 Big Leaf Mountain Mint, 006 Northern Sea Oats, 005 Dwarf Arctic Willow, 004 Elecampane, 003 Miscanthus Sinensis, 002 Black Flowering Sedge, 015 Dwarf Arctic Willow with Gray Sky

Artist's Statement

Samuel Wooten is a French San Francisco based photographer working in traditional and digital photography.  In 1998, he was a resident artist at Lightroom, Syracuse, NY. He is known for his groundbreaking documentary work in Middle Eastern and Northern African Sufi circles.  He has had solo shows in Italy, France, the Republic of Georgia, Japan, Philadelphia and San Francisco.  He also participated in several international juried group exhibitions.

Artist's Statement

My painting is an intersection of time and space: I take the stillness of the objects around us, countered with its always changing appearance. Tracing the realm of revelation beyond words neglected and unexplored, I record the small histories of passing time thus translating the past into the present.
Images lie in silence, isolated from the incessant activity of the surrounding world are valuable not in themselves but rather as signs of other things. Employing Trompe l'oeil technique, my work reveals its center of realities through its vulnerable stillness and presence of anonymous stories.
I do not attempt to replicate the world around us. The histories of my paintings accumulate actions, colors, and textures of paint beneath the quietly finished surface. The brush marks on my painting is a point of mindfulness and a record of having been there. My representationally expressed work reassembles the conventional format and invites the viewer on a regressive journey beyond the mundane through the coalescence of space and time.
My work addresses the life of people before me and simultaneously, the life of a painting covering the wall and capturing the personal yet universal emotions of people. The images lies in the space do not elapse in a sequential, linear fashion, rather with repeated accumulation or parallel pauses. These layers combine in a still moment; our momentary mortal gaze as we reckon with eternity. 

January 24-March 25 2011
Opening reception: February 11, 4:30 to 7 pm

MICHALE J. AHN (b. 1988) recently graduated from Swarthmore College, Pennsylvania with a BA in Biology and Studio Art.  Now living in Astoria, Queens, he works in a biology lab and paints in his apartment, all the while contemplating whether to retreat to the cold mountains. He is fascinated by natural history, ornithology, mythology, and Cy Twombly.
HOLLY DOWNING studied painting and printmaking at UC Santa Cruz and printmaking at the Royal College of Art, London. She has had solo shows in London, Manila, Edinburgh, Seattle, Santa Rosa, Santa Jose and San Francisco, and participated in group exhibitions and biennales around the world. An elected member of the Royal Society of Painter-Printmakers, U.K., her work is in many public collections, including the Achenbach Foundation, Palace of the Legion of Honor, San Francisco; Stanford University, California, and many more.
NIF HODGSON is a San Francisco artist working in traditional and contemporary etching and letterpress techniques.  She is an artist-in-residence and teacher at Kala Art Institute in Berkeley and is currently pursuing a master's degree at San Francisco State University. 
PHILIPPE LAMESCH was born in Luxembourg and moved to Boston, MA for his graduate degree in molecular biology in 2001. He studied printmaking in evening courses at the SMFA in Boston while pursuing his PhD and participated in many group shows during that time. Philippe had two major solo shows, in 2003 in Luxembourg and in 2010 in New York City. He is currently an artist-in-residence at the KALA Art Institute and works as science curator at the Carnegie Institute.



Artist's Statement: 

Born in Hokkaido, Japan, and raised in Tokyo, Yoju first expressed an interest in art at the age of 4. She began formal study at the age of 8 at the Maejima Academy of Art, Tokyo where she continued for 25 years. Additional studies in Calligraphy with the well known instructor, Fujo Minami, Tokyo, were conducted throughout her primary and high school years. After high school followed three years of intensive study at the Kuwasawa and Ootsuka Academy of Design, Tokyo, and an additional 4 years of study at the Pacific Ocean Academy of Art, Tokyo. 

During the first 25 years of her career, Yoju concentrated on oil painting as her principle medium. In 1980 she made a significant shift from oil to her current medium which includes gouache, water soluble pencil and crayon, pastel, China ink, suminagashi (water prints), and collage. During the latter part of her oil painting period and early part of her current period her work has been exhibited at numerous galleries as well as in group and solo exhibitions in Japan. At the present time, Yoju's art studio is located in Saratoga, CA. 


Art imitates nature, or does it enhance it? In her vibrant artwork, Yoju takes familiar, everyday objects and makes them richer and more vibrant; larger than life. A simple fish, a common apple: each becomes a celebration of form, pattern and color. Strong, graphic lines create a woodcut effect, and striking hues give each work a vivid clarity. With an attentive eye and skilled technique, Yoju displays both the inner life and outer shape of her subjects. Notice how she delineates particular features — a fish’s eyes, a mountain’s shadows — through the emphasis of line and varying shades of color. Yoju’s unique still life’s will accent a dining room or kitchen, while her landscape artwork will add grace to a living room or hallway. Representing a variety of subjects and styles, they’ll show you life through art’s eyes. 


“Watercolors by Yoju”
Yoju’s Studio
12272 Via Roncole
Saratoga, CA 95070
(408) 446-4178



Artist's Statement

I make drawings and paintings that reflect my inner and outer worlds. They are often small, detailed and realistic. I see the work as an extension of self-portraiture. Instead of recording myself from the outside looking in, I draw myself from the inside looking out: I draw what I see around me. Many of my images are like polaroids or postcards in that they capture the feeling and appearance of being in a particular place at a particular time. They evoke memories, but at the same time they have become new objects with new stories, existing in their own right.

I studied painting at the College of Creative Studies at UCSB, where I had the opportunity to dabble in botany and ecology. I've recently joined UIC's Biomedical Visualization program and am exploring medical illustration and animation. 


Copyright 2010 Bernadette Jiyong Frank Copyright 2010 Bernadette Jiyong Frank Copyright 2010 Bernadette Jiyong Frank

Artist Statement

Experimentation with colors and optical effect of meditative space is the predominant theme in Frank’s work. Stripes provide a platform to explore color relationship, light, space and harmony. Frank’s use of contrast and vibration in colors generate visual and emotional tension while formal elements in the composition bring the inner sense of order. Alternating colors make the stripes vibrate and pulsate, shifting from the foreground to the background. Forms and colors resist every attempt to fixate the spectator’s eyes. What seems apparent to viewer is the contradiction between the physical fact and the psychological effect. In Frank’s final composition, viewer is confronted to redefine his visual perception.

Born in Tokyo, Japan, Frank studied illustration at Otis Art Institution of Parsons School of Design in Los Angeles. After working in a marketing and design profession for the past 15 years, she has decided to shift her focus back on art four years ago. Her works have been showcased in galleries in the San Francisco Bay Area and has been selected for several juried shows including the critically acclaimed New Visions at Pro Arts Gallery in Oakland, and an international juried art publication Studio Visit by The Open Studios Press. Frank lives and works in San Francisco.

For more information on the artist or her works, please contact: 

Bernadette Jiyong Frank

 Copyright 2010 Lucia Briggs Fine Porcelain  Copyright 2010 Lucia Briggs Fine Porcelain  Copyright 2010 Lucia Briggs Fine Porcelain

Artist's Statement

My work in ceramics began in 2004, and evolved out of a lifelong interest in design and form, combined with a passion for the natural world.  Before discovering the possibilities of clay, my primary means of artistic expression were classical piano, drawing, and painting – all things I have done to one degree or another my entire life.  And while coming later to ceramics than to other media,  it has served to anchor me artistically and focus my attention in a way that nothing else ever has. 

I am interested in the marriage of form and surface design – I work in porcelain, and aim with each thrown piece not only to create something organic and balanced, but also to provide a strong canvas on which to place my painted designs. My primary influences include the design of the Art Nouveau and Art Deco periods, as well as the Native American art of the northwest.   

My work can be seen at The Berkeley Potters Guild,efrr CA; The Christensen Heller Gallery in Oakland, CA; and at Studio Hop in Providence, Rhode Island.  


Lucia Briggs Fine Porcelain
Oakland, CA

 Copyright 2010 Lucia Briggs Fine Porcelain  Copyright 2010 Lucia Briggs Fine Porcelain  Copyright 2010 Lucia Briggs Fine Porcelain  Copyright 2010 Lucia Briggs Fine Porcelain
 Copyright 2010 Lucia Briggs Fine Porcelain  Copyright 2010 Lucia Briggs Fine Porcelain  Copyright 2010 Lucia Briggs Fine Porcelain