Nurture (I Found My Heart in San Francisco Book 14)

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With the primary care emphasis comes an opportunity for the development of strong relationships between primary care doctors and their patients. In addition, new relationships with patients who in the past never sought care and seldom entered into a doctor—patient relationship may be more likely in a system that emphasizes wellness and primary care, although this may be more apparent than real. It is not yet demonstrated that an emphasis, in principle, on primary care leads to stronger relationships, and to what extent countervailing forces such as lack of continuity counter this.

Integrated systems, characteristic of most managed care plans, introduce opportunities for improvement in continuity across the spectrum of care. For example, opportunities arise for case management or for coordinating care between doctors' offices, hospitals, nursing homes, and home care so that individuals do not fall through the cracks of a fragmented system.

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With integration come new responsibilities for doctors and other health care practitioners for communication, teamwork, and a more longitudinal approach to patient care. This continuity may be thwarted, however, by turnover in staff or members. Standardization is often touted as promoting fairness by treating like individuals in like manner.

Both standardization and the application of evidence-based principles in choosing care standards, however, rely on value judgments about what counts as good evidence and how that evidence should be interpreted and applied. The danger to the doctor—patient relationship in these movements is that individual patients with their individual needs and preferences may be considered secondary to following practice guidelines, adherence to which may form part of an evaluation measure of physician's performance.

This approach treats the disease without reference to the illness. Fairness is sacrificed to uniformity. Obviously, discounting the person depreciates the relationship. Continuous quality improvement and total quality management are industrial strategies 37 lately applied in the health care arena. Although quality improvement efforts are by no means unique to managed care organizations MCOs in the health care industry, a few individual MCOs and the American Association of Health Plans have been leaders in promoting quality initiatives and include them in the accreditation process.

Implementing continuous quality improvement may work for the doctor—patient relationship by enhancing competence and the perception of competence, or it may work against the doctor—patient relationship if it diminishes practitioner flexibility or accountability, or if it is perceived by practitioners as a manifestation of distrust by the organization. The first thing dropped as visit length shortens is psychosocial discussion. As companies attempt to increase providers' efficiency, these fears will be realized unless thwarted by consumers, professionals, or more visionary organizations.

Less time, otherwise, will mean less relating time and damage to care: less-accurate and incomplete data; difficulty in identifying the real problems; less efficiency in test and treatment choices based on knowledge of the individual patient; less trust; less healing; more errors and more waste. We believe that in the long run the trust of the public that the physician is doing the absolute best for the patient must be maintained so that the doctor—patient relationship preserves its healing functions.

At the moment, the momentum of control is such that industry and corporate leaders have the upper hand and care is or will suffer as a result. Only if consumers and the medical profession stand together and insist on standards that protect the doctor—patient relationship will it endure the acid raining against its delicate face. Table 2 lists several principles physicians can follow to retain professional standards and nurture and sustain the public's trust in doctor—patient relationships. The first priority is to enhance knowledge, skills, and attitudes of doctors, patients, and plans in the doctor—patient relationship.

Currently, neither doctors and patients, nor plans have adequate skills in the doctor—patient relationship. Most doctors currently practicing have never been critically observed interviewing a patient, breaking bad news, or denying a patient's request for an unnecessary test. Doctors need no longer suffer from a lack of this skill—it is learnable and quickly taught.

Physicians should each ensure their own competence in this vital area. Physicians should focus on continuity: in their relationships with individual patients, between their patients and other clinicians including specialists and nurses , and with the organization as a whole. Trust is most realistic when a relationship has a history of reliability, advocacy, beneficence, and good will R.

Continuity encourages trust, provides an opportunity for patients and providers to know each other as persons and provides a foundation for making decisions with a particular individual. It allows physicians to be better advocates for their patients and allows patients some power by virtue of the personal relationship they have with this physician. Physicians should advocate for continuity as an important goal for themselves in their individual practices, as members of a group practice, as a profession, and within their organizations.

Practitioners should work to protect the interests and the preferences of individuals. Utilization management, standardization, guidelines, and other cost—containment efforts are morally neutral. They may be necessary to ensure that resources needed to care for those who are not yet sick are available when the time comes. Whereas administrators and managers must responsibly steward the pooled resources of health insurance premiums, each physician in a managed care organization should primarily be an advocate for individual patients. This is not to say that physicians should ignore the cost implications of their decisions, or that they should be unconcerned with resource stewardship, merely that their primary responsibility as practitioners should be for the care of their patients.

Health care administrators, whose primary responsibility is stewardship, should not ignore the need for competence, compassion, and individualization of care. Physicians' roles as patient advocates mean they must attend to the needs of individual patients who may be exceptions to the rules or otherwise have special needs. As patient advocates, physicians must ensure that policies and procedures put in place that threaten the ability to individualize care do not go unchecked.

Since this power may be beyond the capacity of individual physicians, it may require organization at the level of the whole profession. Practitioners should contribute to quality improvement efforts. For efforts to be focused on improving the quality of care and not solely on restraining resource use, the role of physicians is indispensable. Physicians know when access is too tightly restrained and their patients' care is suffering, when restrictions on the use of particular drugs or equipment constitute unacceptable impingements on the quality of care, or in what circumstances a procedure is probably unnecessary.

In addition, they should be proactive in spearheading and making clinically and humanly relevant quality improvement efforts in their organization. Practitioners can practice prudence. Physicians should be prudent in their use of resources, and at a minimum should not waste resources by providing services of no benefit to patients. Physicians often complain that patients come in asking for x-rays, blood tests, and other services when physicians are skeptical of any benefit. Indeed, our culture seems to rely on technology to answer questions with a greater certainty than the technology can deliver.

Physicians themselves have contributed to a culture of medical practice in which objective test results are given more credence and are felt to be more reliable than the subjective story of the patient or assessment of the physicians. By fostering a system of care in which concern for cost is acceptable and unnecessary services are not provided, physicians can be perceived as being socially responsible and perhaps restore some credibility in this area to the profession.

Because it is a matter of integrity not to waste resources on tests or other services, physicians must talk to patients, find out why they are requesting certain services, and meet those needs in other ways. We must educate patients about the limited ability of medical technology and the potential for harm in any treatment. This, again, involves skills that many physicians need to learn in order to understand the patient's underlying concerns, cultural background, and life history.

Physicians need to pay close attention to financial and nonfinancial incentives that might provide a strong conflict of interest when making decisions for individual patients. Physicians must look at how they are paid, realize how it might influence the care of their patients, and take steps to ensure that such concerns do not intrude unduly into decisions at the individual patient level.

Remuneration schemes must be scrutinized for this possibility by paying attention to the number of patients the scheme affects, the ability to spread risks over a large population of patients in the case of capitated payment schemes, the implicit and explicit goals of remunerative strategies including cost containment, but also potentially quality, patient satisfaction, continuity, and other worthy goals , and the extent to which the arrangements are public or, at least, open and understandable to patients. It is important to recognize that large fee—for—service payments and salaries without productivity standards or quality standards are equally likely to influence the care of individual patients and should be scrutinized with equal seriousness.

Similarly, things like the size of a physician's panel of patients, its cultural variety, or morbidity can affect relationships because of their influence on time available per patient visit. When taking on responsibility for a panel of patients, physicians could be said to join a relationship in theory that does not yet exist in reality. Physicians, working with their plan, should spearhead efforts to reach out to such members if only to ensure they are educated about preventive medicine issues and encourage them to follow healthy lifestyles.

Although patients and doctors alike will not find frequent visits necessary when someone remains healthy, still the relationship between patient and physician may become important later, should the patient become seriously ill. Developing relationships with all enrolled members is also a way for physicians and plans to become more accountable for the care of those who are not seen in clinical practice. A number of strategies that MCOs can use to strengthen doctor—patient relationships are listed in Table 2. Often, plans do not know how to detect and remediate problems in doctor—patient relationships, how to train their practitioners and their staff to relate effectively and efficiently, or how to train their enrollees to be effective in their own care.

As we now know how to do all of these things, there is no longer justification for poor performance in the encounters between providers and patients. Doctors need training in dealing with difficult patients, about common aspects of life adjustment such as reaction to illness, in recognizing the underlying psychological problems that remain a leading cause of seeking medical care, in negotiating, and in handling tough situations like breaking bad news.

Patients need to be taught to organize their approach to care, to ask questions, to negotiate, and to discuss feelings. Plans can promote a culture that is patient- and member-centered. It also implicitly and explicitly makes care, not profit, the center of attention for those doing the daily work of providing health care.

Physicians and other clinicians are encouraged to put their patients' good first, ahead of profit their own or the organization's , politics e. Conserving resources for future patients or to expand services becomes an important part of serving the member population. Although creating a culture that is patient-centered is not a quick or easy task, there are resources available. It is useful for plans to separate patient care from administrative rules communication. This approach is likely to require regulatory change. Plans can structure contracts with employers that encourage accountability to the membership rather than the employer.

It is hard to balance the competing interests of sick and well members, those who need resources now and those who may need them later, staff and the community. Employers' standing in decisions that affect primarily their employee members adds more complexity, and is fraught with conflict.

The illusion remains that employers pay for health insurance. Actually their not paying the premiums would increase real wages for their employees, drop the cost of living, increase profits, or increase income due to greater competitiveness. This illusion, however, affects how health insurers view their accountability.

Managed care plans do what it takes to please employers, because employees are their customers. The member, sick or well, has little voice. One way to alleviate this situation is to ensure that members have a voice, either through their employer or union, or in the health plan itself, for example, through representation on guideline development initiatives or benefits committees. If policies can be said to be self-imposed by the membership, physicians making judgments about resource use are acting for their patients, current and future, and not for employers.

Plans must eliminate intrusive incentives in contracting with physicians. Intrusive incentives are those that combine strength i. If a single decision about a single patient including the decision to accept a chronically ill person into one's practice is likely to result in a significant financial loss to the physician, then the relevant incentive is too intrusive. The intrusiveness of incentives is a product of the incentive's size e. If, however, a prepaid arrangement covers several thousand patients, the relative size or impact of the incentive is small.

Incentives need not be only financial; peer pressure, leisure time, the threat of deselection, or a sense of fulfillment from work may also influence patient care decisions and thus also should be subject to scrutiny. Yet some variation is necessary and inevitable. An organization that does not allow clinicians to open the gate for the justifiable exception to the rule, or is overly skeptical of clinical judgment about those with rare or poorly characterized conditions, ignores to its peril the rich variety of the human condition.

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The openness and honesty of a system or organization can contribute to a climate of trustworthiness. Health care organizations may not relish the idea of promoting honest talk about limited resources and their consequences, but should at a minimum not try to raise expectations of unlimited access to unlimited services. Plans should promote patient privacy and confidentiality.

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The expectation of privacy is one of the most important aspects of the doctor—patient relationship and influences the disposition to trust, but confidentiality is no longer solely in the doctor's control. Organizational personnel have access to patient information and must be required to keep it private, taught how to keep it private, and monitored to be sure they do. Time is another prerequisite for trust. Plans should determine a reasonable minimum average time for doctor visits.

They should pay attention when doctors or patients complain they do not have enough time together. Because the time of visit varies by type of visit, type of doctor, and complexity of the patient, patient complaints about visit time may be a useful patient-centered indicator of potential trouble in doctor—patient relationships. Plans can encourage consideration of psychosocial issues in all forms of patient care.

An organization can use continuing education, promotional materials, patient-directed education, and quality improvement efforts to promote this aspect of patient care. In doing so, discussions about these areas between doctors and patients will be enabled, patient satisfaction will increase, and unnecessary visits, such as to the emergency department for panic attacks, may even go down. Organizational change may be a more efficient way to promote caring than changing either medical education or the process by which medical students are selected. Plans should avoid business decisions that interrupt continuity between doctors and patients.

Mergers and acquisitions, adding and deleting physician groups, agreeing to short-term contracts with employers, expanding or selling out, all are decisions with profound implications for one-on-one relationships between doctors and patients. To minimize harm when these decisions are unavoidable, exceptions can be made for those with important, established relationships.

As Chairman Mao said, the first step in solving a problem is calling it by its right name. The second step is agreeing on its high priority. The third step is obtaining appropriate consultation and choosing solutions. The solution will often be training practitioners and staff.

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To everyone's regret, there is no quick fix here although major improvements can be initiated in as short as a daylong course. Groups like the AAPP can provide such long-range training efforts. Many plans already monitor practitioner skills in these areas through patient satisfaction surveys, and these may effectively identify those needing extra help. Attention to the training of patients is another critical part of creating effective partners for care.

So also is employers' education as to the importance of this area, as their decisions may be critical in directing resource allocation. Finally, we believe the medical profession needs to provide data-based standards and establish principles physicians will not violate and to which plans must adhere. Otherwise, this will be done in a haphazard way by corporate interests.

We have outlined briefly the fundamentals of the doctor—patient relationship, some features of the health care system found particularly in managed care settings that affect it, and approaches for protecting and sustaining the doctor—patient relationship in these settings. These are aimed at physicians and plans, but should be of interest to policy makers, other health care administrators, and consumer groups.

In change there is opportunity. Our current opportunity is to examine the doctor—patient relationship, the context in which that relationship operates, and in particular, the influence of changes in the financing and organization of health care. The doctor—patient relationship deserves our serious attention and protection during these dangerous times. National Center for Biotechnology Information , U. J Gen Intern Med. Find articles by Susan Dorr Goold.

Mack Lipkin, Jr. Find articles by Mack Lipkin, Jr. Author information Copyright and License information Disclaimer. May 1, Address correspondence and reprint requests to Dr. Medical Center Dr. Copyright by the Society of General Internal Medicine. This article has been cited by other articles in PMC.

Open in a separate window. Figure 1. Acknowledgments Dr. References 1. Tessler R, Mechanic D. Factors affecting the choice between prepaid group practice and alternative insurance programs. Choice of payment plan in the Medicare capitation demonstration. Med Care. Factors affecting choice of health care plans.

Health Serv Res. Sofaer S, Hurwicz ML. Preserving the physician-patient relationship in the era of managed care. Mechanic D, Schlesinger M. The impact of managed care on patients' trust in medical care and their physicians. Mechanic D. They are all inspired to rescue and manipulate materials that are predestined for landfill. They seek and acquire these materials and are driven by their limitless possibilities.

Kevin and Marianne work with paper scraps. Mariana works with plastic bags of all sorts. Heather works with Press Mold and Slip-cast trash. This show begins on March 7th with its opening reception from 5 — 7 pm and runs through May 3rd, The ultimate goal of this on-going body of work is to divert the refuse, such as single-use foil lined packagings from landfill and recast into graceful topographies that echo and reflect nature, landscapes, and horizons.

The transformation of trash into slip-cast ceramic sculpture emphasizes the permanency of our growing landfills in an ever-increasing disposable nation. After working on computers and websites as a graphic designer for years, Marianne really missed working with her hands. Creating art with recycled paper strips became a natural transition. There is a lot of waste when it comes to printing: make ready sheets, trimmings, folding, gluing, etc.

Marianne never has a preconceived idea when it comes to making pieces. She allows the medium to drive the piece. Mariana has an even greater purpose for these objects once they are transformed. Warped plastic lids are altered to the point that, together, their petal-like forms read like beautiful, vibrant fungus, perched on trees. However, the works are not dark at all. The soft greens and blues in the maps play with the bolder colors he already works with.

Kevin also works with other scavenged paper, print trimmings and fabrics. All four of us picked up discarded items and gave them intention again. These items once had a purpose. We are now revitalizing them into forms that can be aesthetically appreciated. We hope that our intention will make an impression on viewers and help them see ways to consider and appreciate the potential of everyday throwaway bits and pieces.

While she dabbles in sculptured fiber, you can find her perusing printmaking, photography and life. Dierdre Weinberg is a painter and muralist in San Francisco and uses recycled canvases to paint on. The material is not seen at all, much less as a possible artistic venture, which is what she likes — to see the overlooked or unseen and it in a new way.

The insect invasion series combines technology, biology, and geography to stimulate an aerial view of the earth. The digital laser discs represent the ocean while the land is grid-like and abstract. This series reminds us of Pangea, how approximately million years ago all land was one super continent. Each piece is an island, similar yet different. The scale of the insects are much too large and invasive in comparison to their surroundings.

Their wings are made from the internal programming of keyboards, both delicate and detailed. Technology has made insects mega powerful. We have underestimated them. Insects have bee on this planet way longer than we have and are taking it back! My process begins with an object that intrigues me. I reconceptualize the intended purpose of that object by transforming it into another. Much could be said by the discovery of self by researching the materials we surround ourselves with.

Growing up in the United States with its abundance of materials and tendencies toward wastefulness has influenced my fascination with being resourceful. Playful and conceptual sculptures take life. I received my degree in Fiber Art and Combined Media Sculpture from the University of Arizona, which set the foundation for learning the importance evolving relationships. Like a tapestry, everything is connected to everything else.

Patterns in nature, humanity, and technology inspire me. Color, line, form, and texture are prominent design elements in my creations. My bold and colorful sculptures incorporate many different materials and processes in order to get my ideas across. Sophie Lee uses packaging and plastic and weaves them with the idea of using them as a canvas but they become works within themselves. This show opens Friday, January 11th with an opening reception from pm and will be on view thru March 1st Together, they bring the hard and soft in the juxtaposition of mediums.

From paper to metal and vinyl to glass, Asher and Muse find whatever materials they can use and reuse to create two and three-dimensional works of art. The Opening Reception will be Thursday, November 29th from pm. Lani Asher lives and works in San Francisco. She maintains a studio in a San Francisco industrial park alongside motorcycle and classic car repair shops and Chinese food wholesalers. She spent a year studying video, photography, book making, and film at the Visual Studies Workshop in Rochester, New York.

During her independent study project in Brazil she created a video examining the relationship of Brazilian Baroque art and architecture to the beauty of imperfect pearls, and transgendered Brazilian sex symbol Roberta Close. Over the years she has taught art for numerous Bay Area non profits, including teaching art to prisoners, elders, artists with disabilities, and is an online arts writer. Find her online thru laniasherart. Jes is a third generation artist following in the footsteps of her grandmother, Jean Cobean, and her mother, Lisa Muse.

Jes enjoys reclaiming industrial refuse like railroad spikes, horseshoes, horseshoe nails and live-edge wood from the forest floors and northern California rivers. Having different cooling and heating points, steel and glass are not the most compatible mediums.

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The glass becomes marred by the sparks created in the act of welding and if heated too much will crack and split apart, so it is a challenge to secure the glass well enough without overheating it. Marilynn Pardee works with industrial materials, Marlene Aron builds from the natural world.

What holds the work of these two artists together is their love for detail, exploration, discovery, and construction of their seemingly disparate works. Marilynn works with iron, auto parts, tire prints. While Marlene uses flowers, leaves, soil, wood ash, paint and glacial rocks, layered onto canvas and wood. Theirs is a world of contrasts, and yet they sit beautifully together. Marilynn Pardee creates lamps, furniture, screens and clothing, often painted and printed with tire tracks from cars, trucks and bicycles. I imagine traveling at the speed of light, leaving random colorful tracks.

Each piece is created with scavenged and recycled materials, assembled and welded with my trusted assistant Miguel Ayala.

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Anchoring the show will be five beacons varying 6 to 8 feet tall, entitled Hope, Joy, Inspiration, Peace and Mirth. A reflection from her childhood, observing the colors of earth beneath her feet, the glistening light between branches, the sounds of water in brooks and streams. Marlene layers soil, mulch, cocoa bean hulls, crushed oak galls, wood ash, melted beeswax, oil, alkyd and acrylic paint onto canvas and wood.

Her environmental sculpture installations consist of glacial, garden and lava rocks, soil, oak galls, pit-fired shards of pottery, and leaves. I move the earth combined with water, light and air. With breath, twigs, stones, broken shards of pottery, to find myself again. My work is about the building up of layers and stripping away of surface; it is about reaching for the center.

Mixed media, natural material and paint on canvas. It will be on view through November 16th Known for their involvement with SCRAP here in San Francisco, these three artists invite you to re — imagine common everyday items in a new light, and with an artistic purpose in mind. Some of these items used in the show include: discarded books, paint chips, milk cartons, junk mail, coffee sleeves and postage stamps.

This exhibition opens Friday, July 20th with a public reception from pm and can be viewed through September 15th From A family of makers, Aiko Cuneo worked with teachers, students and families as a teaching artist in San Francisco schools. She combines a variety of materials to make two and three-dimensional constructions. Her work for this show is made with paper, security envelopes, bar codes, buttons, sewing notions, milk cartons, 45 rpm records and paint swatches.

Most recently, she is constructing sculpture incorporating reclaimed cardboard and decaying materials. The sequence is created from common, everyday materials including withered wood, discarded cardboard and rusted metal work. Hyde scavenges from city streets, generous building contractors and reuse yards. She carefully pieces the object together, rather like completing a puzzle. Her hope for the future is sustained by the dedicated individuals and organizations working creatively to protect the air, water and soil.

Her childhood was spent watching her dad making and building things large as the family home to small pieces of folk art using primarily reclaimed materials. At a young age she wanted to build and make things just like her dad and they collaborated on many projects from childhood to adulthood! Her dad Philip was her biggest supporter and inspiration in her artwork until his passing at age Monica dedicates her artwork for this show to her beloved dad.

Their art is designed around a continuum of lines that are the underlying energies that hold all things together in a common space. Through their exploration of painting, sculpture, and mixed media pieces, all created and inspired by recycled materials mirrors, paper, plastic and string they are crossing over any boundaries of separation to express the greater whole. They meet regularly to critique their work and share new concepts for exploration. Both artists are passionate about reusing found materials in their art and in their concerns for the health of the planet.

Reddy Lieb has created a wall of paintings and mixed media pieces that includes both abstract and realistic imagery, old and new, opposite forces that coalesce into a whole. Everything is connected…even seemingly random and unrelated materials, or concerns. Jennifer Ewing continues her work with the symbol of the Spirit Boat as a metaphor for passage. In this exhibit she has created a large ship that pulls along a trail of plastic debris that references our tragic and growing Sea of Plastic.

This is how I describe my passion for art and the ideas that I explore through mixed media. I have been using recycled materials in my work for over 35 years. In , I was awarded an artists residency at Recology, where I put together a portfolio of work based on my exploration of the mythical character Demeter, and her dilemma in the 20th century.

Working with broken glass, burnt wood and grown grass I built installations. My final installation was creating a glass tower of cards that referenced the myth of King Minos and the collapse of the kingdom on the isle of Crete. Sites of transformation have always interested me. They are mysterious spaces, a fertile void, ripe for renewal. I created work based on demolition sites and the Phoenix rising. Now, in the midst of major social, political and economic upheaval, I am exploring the illusion of security.


What we need in this time is to know how we are all connected, like mycelium of mushrooms that forms an immense underground communication network. Referencing sacred geometry and ideas from the string theory I am creating connections. A life long artist, Jennifer has worked as a teaching artist, an illustrator, muralist, entrepreneur and workshop facilitator.

In her personal work and workshops, Jennifer uses recycled materials with an emphasis on plastic and paper. She is inspired by the universality of Spirit Boats and demonstrates how little boats can be made of cut-apart plastic water bottles or stained papers. She is also influenced by how the artist, Christo, has wrapped objects that has given her new ideas on how to treat recycled lights that have become sculptures. As an artist and entrepreneur, she is a bridge to help people incorporate art and right brain thinking into their daily lives.

This exhibition will be on view through May 11th I start with the artifacts of daily living, things that most people overlook: battered globes, worn shoes, and dilapidated tools. I use them for their connotative, associative or narrative possibilities. My installation work is tactile and handmade; as an artist, I focus on process and on topical, issue-based content. I use materials that challenge my audience to consider multiple references in order to understand the full meaning of a piece.

I want people to be caught up in the experience of my work, just as I am, in making it. My goal is to have them come away from an encounter with the work knowing something new about themselves. Conceptual, multidisciplinary artist James Shefik lives in Oakland. Along with making art in his studio, he is a scenic artist and scenic foreman on movie and television sets Sense8, Thirteen Reasons Why, Steve Jobs, Big Eyes, Chasing Mavericks, and Milk, to name a few.

His latest work employs photographic prints to mutate small transient into an almost theatrical experience. Exposure to the job site as a youth helped shape my interest in architecture and the ever-changing organism of the built environment. These early experiences continue to inform my work and contribute to my own sense of place and identity. The concept of structures as living entities is a natural starting point for my experiments, often stemming from themes of origin and decay within the urban landscape.

The breakneck speed at which this life cycle revolves in the Bay Area underscores the socioeconomic and political issues of our time and further influences my work. My most current work presents as a collection of eccentric architectural models and maps, wryly alluding to the seriousness of many ominous societal issues on our collective horizon. The materials I collect are typically found, bartered or bargained for in keeping with my inclination to reuse when possible.

The three artists, Francesca Borgatta, Charles Foss, and Miles Epstein, each bring work with personality, humor, and a recognition that a long studio practice will always reveal new surprises. Especially when the work is assembled in a new context and new configurations. Since then, she has lived a full life of dance, drama and puppetry. Then I add new things until they appear as a single configuration, a form which needs completion. I like puppets because each one has a name and a story, and is meant to be manipulated.

The wall hangings include a set of tablets describing these five elements: wood, fire, earth, metal and water. I started these in when I was studying Chinese traditional medicine where each element is assigned a color, a season, an emotion, and other qualities. To understand this interaction, I gathered objects in that material and arranged them on a plywood panel.

This wide open space celebrates both the aesthetic beauty and practical value of recycled materials. Artists are encouraged to work together to plan their show, and explore possibilities for collaboration, to generate a much-needed sense of community. Hopefully, through our artwork, we can encourage a sense of ecological awareness. Crystalline Spheres, by Charles Foss, aka c.

Charles Foss, also known as c. From his website freektures. Miles Epstein uses salvage materials and simple tooling to design and build art and other useful objects. His work ranges from furniture, sculpture and installation and uses paper, metal, cork and concrete. The work is often very labor intensive but strives to appear natural, even relaxed. By gluing the glass to the sheets with two-part epoxy I hope to create a hybrid visual experience, combining elements of graphic design, stained glass and painting. The process is exacting and fussy but has great potential for beauty. I am also bringing to the floor of the gallery a new collection of cafe style tables built primarily from cardboard and cork.

But they still amaze me with their resilience, strength-to-weight ratio, and their subtle color palette. This is a group show honoring the tradition of gathering around the table among friends and socially producing art for pleasure. It will feature multiple mosaic artists, metal sculptures, craft jewelry, knitted critters, crochet, cast paper, glass tableware and original lighting designs, all sourced from reused materials. We open this show on November 17th from pm and it will run through January 5th I enjoy working alone, as well as collaborating amongst many!

Gathering together with fellow artists has been a meeting ground of genuine support and swirling creativity. It has taken me out of my darkest moments, inspired me, and brought depth to my art, that left alone would not have arisen. Haideen Anderson works with a variety of materials in her sculptures but focuses mainly on paper-casting for mask-making and mild steel for nature and dream influenced sculptures.

With both the masks and the metal, she is interested on exploring pairs of opposites and the healing potential in art. The masks that she makes are from reused materials — paper grocery bags for the casting with the surface collaged on with out-of-date calendars, old magazines, cigarette packages, etc. Much of the metal she uses is also made from scraps. In a few sculptures this is obvious. They are constructed from car parts, door knobs, cake pans and other recognizable objects. Making art is often such a solitary activity. Coming together, each person with their own project to work on, balances the lone time.

Old friendships are strengthened and new ones are formed on Art Nite. The atmosphere is warm and supportive. Love of creativity is the unifying force. Lauren Becker can occasionally be found at the yard B R sorting re-usable window glass and shelves for her work. The up cycling process involves cutting the glass to size and a kiln firing that softens the glass just enough to render it flexible.

In this state it can be embossed with design from below, enhancing the aquatic virtues of glass and the natural aqua tint present in plate-glass. An extensive line of functional tableware with dishes, bowls and serving pieces has evolved in a wide variety of sizes. More info on her work can be found at recycledglassworks. Every collection is designed and hand-made be me one at a time.

I work in a tiny art studio in the historic Dogpatch District near the central waterfront in San Francisco. I have been designing wire and glass jewelry since In I entered my first competition in the recycled category and won. The excitement of winning inspired me to explore more options of designing jewelry with broken, found or discarded trash. Since then I have rescued over 48 different waste items and made many pieces into reclaimed and wearable art.

Creating new jewelry from broken, found and discarded objects fulfills my current creative instinct. I was bed ridden in post-trauma-recovery, and this act of crocheting was Good Medicine. I enjoy experimenting with non-conventional materials and find great inspiration while Crafternooning with friends!

Mike was drawn to shadows and light, natural forms, and dumpster diving at an early age. These influences are ever present in his work with lamps and light fixtures. Angel Gurgovits has been a recycler her whole life. She has worked at Building REsources for 13 years and counting, the last two years also curating the Reclaimed Room Gallery as well. She began to make mosaic art with Dana Albany back in and the advent of Art Nite was born. Youth Educational Spacecraft, designed by Dana Albany. Since I learned to knit in 1st grade in Denmark , knitting has been a big part of my life.

I can never just sit, must have needles in my hands. These creatures, composed of re-used materials, have been so much fun to make. When life falls apart and our dishes we have the option to transform the results. We pick up the pieces and glue them back together, allowing the unlimited possibility of fun colors to reflect the beauty in our world. Pauline Tolman is a San Francisco artist best known for her large scale sculpture and architectural installations. She has achieved three major public commissions as well as a number of site specific commissions.

She also enjoys figurative bronze work. The very raw, primal forms created by this splash are the core and inspiration for the wall charms displayed here. We have formed a strong bond with one another and continue to work together as often as we can. Opening September 15th, we have a show not to be missed!!! Three incredibly talented mosaic artists will be featured together for the first time: Connie Murray, Kim Larson and returning Reclaimed Room Artist from , Martha Jones. She has been artistic all her life; doodling, building lamps, sculpture out of obscure objects, and painting the interior of her home a variety of colors.

Fifteen years ago Connie began tiling household furniture as an expressive outlet not only for herself but also in her practice as a healing resource for addiction recovery. In her practice following the sequential PCEAT approach all artistic venues offer a path to personal growth and healing. The meditative quality of mosaics provides a vehicle for gaining an in-depth understanding of life experiences, and to organize ideas.

Additionally this meditative quality has allowed her to seek a graduate degree as it structures time to process research. Her quest for abandoned treasures are found on the street, in salvage yards, in thrift stores, yard sales or gifted, just to name a few. Her color combinations and compositions reflect her professional training and inner talents.

I grew up just outside of Boston. I remember looking forward to trash night where you can go out and search street after street for goodies. The reuse passion never ended…things from the past have a soul. At times I have to admit I walk that fine line between sanity and insanity because each cut, each piece, each color, each placement has to be perfect!

I feel like I am painting with light. The reflective qualities of the glass force the viewer to move around the piece to see it truly take shape and reveal itself. The recycled china, tiles and found objects create an intimacy with the viewer when recognizable things are used in new ways. Visual art, music, literature, food, film, books, television, colors, sounds, smells, drugs, and technology all act as transportation vessels with the uncanny ability to tug on our imagination and memory.

But where does this leave the phone booth and other relics of outmoded virtual travel? Where do these technological fossils take us? To whom do they connect us? Are they places of nostalgia? Do they transform us into Superman? She combines found objects form a new narrative based on common associations the items hold. In so doing, she requires that her audience put forth effort as they use their imagination to travel to new and unexpected places, giving old gadgets new meaning. Through this welcomed displacement from reality to fantasy, he encourages viewers to learn to see and understand themselves from a different perspective.

The figures in his compositions are characteristically staring off into space, connected to one another in the ether, yet isolated in real life. His subjects are at once physically present and absent having transcended the material world into immaterial space. She began her professional relationship with objects while working as an art conservator in North Adams, MA and Guanajuato, MX and continues to bring them wherever she goes. There were people everywhere. He figured out that by focusing on individuals and becoming fascinated by them, the masses of humanity and the world itself faded away.

He studied film and video making alongside drawing, painting and printmaking as an undergraduate at Princeton University. He continues to be inspired primarily by people and their environs. New works have been installed by Miles Epstein and Tim Armstrong, in place of ones that were sold. The celebration will be held July 2nd, — 7pm. The show closes a week later, on Friday, July 7th. Innovated objects will be presented in a way that can inspire you to see them in a different light.

The show opens Friday, May 12th and will run thru July 7th. My skull prints are made using tar paper, mop heads and camping fuel gathered from dumpsters near construction sites and homeless encampments, I like the simple suggestion of a burning fuse. Mounted on the back of each print is the original collage. The wall sized work is an experiment using old car gaskets, stove burners and instant coffee. Originally conducted on a cement floor, the drawing was then coated with elastomeric roof paint and burlap and peeled off the ground.

I am mainly interested in using undiscovered processes as an artist, in containing a method as it leads to a metaphor. Ramiro Cairo is an Argentine artist, based in San Francisco. His speciality is the reuse of disused objects and technological scrap, creating works of art and design, such as TV mirrors, TV coffee tables, circuit board lamps, vacuum tube figurines and sculptures in limited editions. My challenge is to find them a new line of work, giving them an extended lifespan and making them useful again.

The tape dispenser is the first object of this series in which the pieces are shaped by chiseling down the brick as if it was a sculpture, using a hammer, chisels and an angle grinder. Why bricks? Well, I just want to give them a good use instead using them for a nonsensical Wall. Katerina Connearney is a figurative artist and woodworker originally from Greece and currently living in San Francisco.

In this exhibit, the focus is on making functional furniture pieces from almost all recycled or reclaimed materials. The majority of the materials were, appropriately enough, found here at Building Resources. The fun is in playing with them — rearranging, bending, taking apart, putting back together, and eventually seeing what is recreated.

We all know this space in our own way, and all work very independently and in different materials: brick, canvas, wood, plastic and metal, objects of interest, tissue and paper.

Classroom Community

Hanging out at the yard I am most inspired when someone leaves with something encouraging, be it an idea, an inspiration, or a doorknob. Rachel Leibman is a mixed media artist from San Francisco. Her artwork spans the gamut from tiny two-dimensional collages to room-sized installations. The unifying thread in all her pieces is repetitiveness and obsessive attention to detail.

With a sly sense of humor, this piece evokes sweet childhood memories. This piece is a commentary on the state of the pharmaceutical industry in the U. The incidental shapes and forms, cut and discarded, reimagined as entirely new works. Eran and Roland created four generations of pieces from the same original material, each one directly inspired and defined by the one before it.

Together they collaborate on costume furniture, architectural elements and sculpture in the Bay Area. There will be refreshments, the event is free of charge and located within Building REsources. The heart of this particular showcase revolves around the existence of the artist in the modern day world, and explores the fine line that can easily become blurred in the shift between beautification and gentrification — or rather anti-gentrification, in this case. Many of the works and installations in this show will convey the fragility of artist created realities, which can easily crumble to demolishment, becoming lost in the constraints of our capitalist driven cultural and political climate.

Papusza Couture artist and designer, Kaytee Papusza, currently resides in Los Angeles where she works as a couturier, costume designer and fabric archivist. She creates clothing, couture and costumes of all kinds, and is best known for her one of a kind conceptual fine art couture collections, made using unconventional materials, hand crafted textiles and artisan techniques. She is known for use of found and cast off materials in her 2 -and 3 — dimensional work. Sourcing and collecting a wide range of paper, wood, and metal and any eye catching scraps is an ongoing practice and integral to the artistic process.

Making use of the innate histories and forms of found material, she works to create something wholly new that hints at the familiar. The richly layered, textured results exude both joy and mystery inviting scrutiny. This 3 — dimensional work provides an exciting challenge in figuring how to assemble the piece in a visually interesting way while keeping it structurally sound. She is also involved with the temporary art space, Hayes Valley Art Works. If you missed the opening, then this show is for YOU!

Nurture (I Found My Heart in San Francisco Book 14) Nurture (I Found My Heart in San Francisco Book 14)
Nurture (I Found My Heart in San Francisco Book 14) Nurture (I Found My Heart in San Francisco Book 14)
Nurture (I Found My Heart in San Francisco Book 14) Nurture (I Found My Heart in San Francisco Book 14)
Nurture (I Found My Heart in San Francisco Book 14) Nurture (I Found My Heart in San Francisco Book 14)
Nurture (I Found My Heart in San Francisco Book 14) Nurture (I Found My Heart in San Francisco Book 14)
Nurture (I Found My Heart in San Francisco Book 14) Nurture (I Found My Heart in San Francisco Book 14)
Nurture (I Found My Heart in San Francisco Book 14) Nurture (I Found My Heart in San Francisco Book 14)
Nurture (I Found My Heart in San Francisco Book 14) Nurture (I Found My Heart in San Francisco Book 14)

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