In my early work, capturing the likeness of the subject and play of light and shadow fired my creative expression. Now I focus on transcending ideas of ‘representation’ found in traditional portraiture. I am driven to capture the subject’s humanity, as well as their spirit. This creates a deeply unique connection to the viewer as the painting begins to vibrate and take on a life of it’s own. Throughout my process I serve three masters:  the subject, the painting, and the viewer.  I begin with a concept, which is then composed and photographed for reference. Intuition takes over as I paint, and I become in complete service to the painting and its needs. Every aspect and detail of my work is very intentional and considered, there are no superfluous moments. Honoring my subject with dramatic open space and striking composition, protects it and also envelops the observer. This creates an intimate relationship and setting to experience the work in a uniquely personal way. This current work sets out to explore new and empowered representations of transgender and gender non-conforming people, creating more visually inclusive representation outside of the borders of traditional social convention. BIODavid Marvel hails from the east coast. His twenties were spent south, in Miami, where he came into his own as a performer and then found himself forced to confront some difficult situations in his life. During this period he found a reprieve in painting and its meditative escape that reconnected him to his spirit. David’s influences range from Caravaggio and Rembrandt, to more contemporary artists, Jeremy Geddes and Jenny Saville.​


Attacking the paper physically, I strike with energy, strength and confidence. Gestural lines and determined marks become the armature of my work, creating  a visual skeleton.  Followed by meticulous editing and reexamination I coax a gentle protective energy, and lyrical line out of the piece.   This work explores my ideas of power: how do I find it; nurture it; give it up and then reclaim it? The contradictory nature of these questions have piqued my curiosity and led me to investigate ideas of ‘cliché’ feminine roles along with a human being’s right to act assertively, decisively, strongly.  BIOJody Levinson, originally from the East coast, has lived in the Coachella valley for five years. Her education and experience in new media and materials help inform her art making. These assets free her to act instinctively and emotionally.​


As I began making work I was introduced to plain air painting and was instantly captivated with its need to adjust to the ever-changing light as it affected the environment. The confidence and immediacy needed for this type of painting has completely informed my process. My paintings begin with my creating a loose framework— freely applying dripping paint which i use as a rough guide. Primarily using a palette knife to apply the pigment to the canvas with an intentionally directive stroke allows me to create space and dimension without detailed rendering. This deliberate application liberates me to use saturated and hyper-real color that is not typically seen in landscape paintings. My color choices may seem exaggerated but are reflected in our daily landscape as sunlight and shadows move across the valley throughout the day. I combine multiple times of day into a painting that although “unnatural”, organically works. I am recording the environment and amplifying it to a Hi Def visual experience. My influences include Lee Mullican, Marsden Hartley, Mark Bradford and David Hockney. BIOJoe grew up in Orange County and moved to New York City in his twenties to pursue an acting career. That career ultimately took him to Los Angeles where he worked as an actor. At the same time he returned to California’s bright and sunny climate, he joined the family business, working as an artist. .


Open places. Negative space. A center that cannot hold. A set of delicate balances. Where does chaos begin? Where is there a sense of calm? What is densely drawn or delicately rendered? What is merely suggested? I am interested in the viewer exploring this push and pull, this motion and stillness, the same inquiry I experience when I make the work.    I have been working more spontaneously, not editing a line or mark, rather taking the pencil, pen, marker, etc. and unceremoniously or recklessly marking the surface, allowing the resulting mark or line to appear without adjustment. The repeated marks carry the same visual or emotional weight as an object or text the viewer might recognize. Some subjects are neatly drawn and detailed, others, more cursory, carry an emotional kinetic energy, as if they have been added to the work at the last possible second. No part of the drawing is necessarily more important than the other.  The ‘removal’ of parts of the drawing is an important part of my process. I want to remain malleable and teachable as the drawing takes shape. The drawing becomes itself not based on my grasping or aversion to any particular section of the piece but by being open to whatever changes are needed to find its “finishedness”. BIOTim is originally from outside of Boston. In 1990 he came to California on vacation and never returned. San Francisco became home for many years and remains the place where he ‘grew up.’ Having spent his twenties in an epicenter of the AIDS crisis, the disease continues to affect his point of view and his art making.​