
Born 1975 Bellaire, Ohio.
Lives and works in Los Angeles, California. Abutted vertical bands of translucent color synthesize into abstract landscapes. Balanced with curved and canted transitions, the hardedge compositions sway and stretch across the canvas. A flickering light animates rich color fields and amplifies the atmosphere with a flexing, breathing glow. Bold and optimistic color juxtapositions conjure unexpected harmonies and irrational relationships. A velvety moss green flirts with a refreshing radiant aqua and a luminous popsicle lime melts against deep cabernet crimson.
Described by Ken Johnson of the New York Times as an artist who " combines thick paint - troweled, combed, smeared and dribbled - schematic diagrams of machinery, furniture and architecture and neatly painted images in a child's picture book style to dreamy and sensuous effect."
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Snare (acrylic on canvas) 47 x 30, 2007 |
Nocturnal (acrylic on canvas) 47 x 30, 2007 |
http://www.jamesgilbertstudio.com/
James Gilbert is a Los Angeles based artist who works across mediums creating drawings, installations with video, and performative art. These works comment on social themes including identity and anonymity in mass media. Gilbert has exhibited nationally and internationally at galleries and museums in the U.S. and Asia. Recent 2008 solo exhibitions include: “(Don’t) Want to be Anonymous”, Los Angeles and “I Know Everything about You and We Haven’t Met”, Dallas. “The Privacy of Underpants”, Seoul and “The Privacy of Underpants- Part II”, Beijing included a catalog with essay by Charissa Terranova. He will be an artist in residence at Centraltrak,The University of Texas during fall 2009. A large scale site-specific solo installation including 15 video shorts, "Warnings & Instructions" will be exhibited at the Dallas Contemporary early 2010 with future project planned in Denmark, Colombia and The United States.
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55 x 40 inches, 2007 |
Too Old to be a Prodigy (oil on canvas) 76 x 58 inches, 2008 |

My studies are attempts to make tangible embodied interaction that engage people and the environment in various forms of play. I regard these interfaces as "platforms", because they can contain software applications that encourage people and elements of the environment to play, perform and enjoy themselves. The interfaces are 'studies' of non-verbal communication and can be seen as toys, wearables, meeting places, and tools for expression.

Ms. Emenegger has been an active leader in the artistic community since 1997. She founded McLean Fine Art in 2004. McLean Fine Art provides arts consultancy services, visual artist career coaching, and distinctive local and national fine art exhibitions. McLean Fine Art also offers strategic and press consultation to art galleries and non-profit organizations.
Ms. Emenegger has worked with hundreds of artists, providing them with professional career and business counsel. She lectures extensively and has provided workshops through MOCA, the Santa Monica Museum of Art, UCLA Extension, Los Angeles County Arts Commission, Flintridge Foundation, Santa Monica College, Center for Cultural Innovation, Ventura County Arts Commission, Fullerton College, Ryman Arts, Pasadena City College, the Orange County Center for the Arts, and many others.
She is a graduate of Sarah Lawrence College, New York.
Winsor Newton representative Craig Antrim demonstrates the use of Oil, Acrylic and new Water based Oil Paints.
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