#tendergold Gallery was first introduced to IAMA in early 2018. The name pays homage to our ever-so-funky neighboring Tenderloin District. While it can undeniably be seen as dark and gritty, it also hosts some of San Francisco's most exciting underground art scenes and nightlife. #tendergold celebrates this by bringing art to the light of day from emerging artists, both internationally and from the Bay Area .
El Color Musical de la Etnia y el Mestizaje
(Music and Color of Ethnic and Mestizo Identity)
Opening Reception: Friday, November 2, 5 - 8 PM
exhibit on view october 26 - november 24
Artist Arturo Martinez’s first solo exhibition is a culmination of music, culture, and ethnicity. His work reminds one of the great African American artist Romare Bearden’s artistic renderings of life, jazz, and people. Like Bearden, Martinez too praises his ethnicity and mestizaje without losing sight of the long struggle of the diverse ethnic communities of Mexico.
His geometrical compositions of C shapes, half Us curves, circles, and his nonlinear patterns flow rhythmically. A musican himself of “Son Mestizo”, Martinez roots his paintings with an African, Mestizo, and indigenous lining. Born in Tlacotzlpan Veracruz, Mexico, he captures the lyrical and the traditional in the vibrate power of its local fauna, flowers, and customs with colors that guide his inspiration like a musical note on canvas. Each painting ripples with movement and ebbs according to the color chosen. For Martinez, “music has resonance.” His approach to color is like artist Wassily Kandinsky who believed color to be like a keyboard. Martinez’s paintings have a deep inclination towards the rhythm of Latin Jazz.
The paintings of life as in his amulante (street vender) series with flower and fruit venders begin with a slight gesture of humility that starts with faith. The titled head is not a sign of submissiveness but of a ceremonial posture that builds on all the inner strength to start a new day.
By incorporating patterns from Mexico’s diverse ethnic and indigenous plurality, Martinez exalts his recognition of the importance the artisanal artists have had in Mexico’s creative spirit. Each pattern expresses a natural deity, the cosmos and a metaphorical meaning.
Opening Reception: Friday, December 7, 5 - 8 PM
exhibit on view Dec. 1, 2018 - Jan. 5, 2019
Born in Detroit in 1983, Steven Stodor began working with Glitter on Canvas, at age 15. Stodor began supplementing traditional paint with glitter and glue in order achieve a ‘flat’, graphic effect, though the result was anything but flat. His first such work, which imagined a pink, female profile, created primarily on the kitchen table, was the catalyst for a decades long glitter era, which produced daring works on canvas representing popular culture figures and Catholic images.
Moving to San Francisco in 2001, Stodor returned to University at age 24, after a six year hiatus, to study Advertising. Fast forward a couple of years, he found himself back in the Fine Art Department, where he laid claim to a nautical point of view, especially that of International Signal Flags. This focus was derived from Stodor’s upbringing on Lake Michigan added with his now residence of San Francisco. Water, and life on and near the water, has always been an integral source of his self.
After his former Studio was compromised in 2014, Stodor’s practice was considerably altered and downsized. His nautical work, which were primarily representational, mixed media paintings, started to shift towards that of assemblage and installation. His color palette concentrated on primaries and black and white. Stodor acquired his current Studio space in late 2016. He has embarked on yet another evolution since January 2017.
Stodor’s current work is his response to Media incapacitation, and Art as Entertainment; be calm and cool; thoughtful. Through common mediums used, such as resin, paint, plastic, and canvas, a balance is achieved. In each work, representations of color, and O, encapsulated in resin, transform and shift with light. Optical illusions are intentionally offered. He usage of the circle recommends a universal symbol that predates recorded history. Stodor’s process is layered, and fluid; his goal is to create works that emit a desired coolness. Stodor considers himself an artist rather than a painter, one who looks deeper into one self and creates work that is bold and uniquely his own.