Above: Miya Ando, Gold Moon Mandala, 2016, 23k Gold, Pigment, Dye, Urethane, Resin, Stainless Steel, 48″


Summer solstice is here and, while others frolic, feast, and celebrate with myriad rituals, we make an offering of art. Our current show is a cosmos of talent.

Observe Joe Brubaker’s Dark Moon works from his latest sculptural phase. David Becker, a newcomer to the gallery, dominates our space with his stellar Black Daisy painting. Diane Tate DallasKidd offers up a fiber piece in bonfire red, and Robert Charles Dunahay’s geometric abstractions glitter like the night sky. Miya Ando’s super moon glows golden whether near or far, while her bodhi leaf meditation mandalas embody the universe with their geometric forms. Sculptor David Kimball Anderson likewise brings flora into our world with his painted steel still life replete with planets–or whatever you wish to see or believe.

Visit Sloan Miyasato in San Francisco to view these works, and 150 more by other artists. With this constellation of fine art, curated by Michelle Bello, the sky’s the limit.



Sloan Miyasato Fine Art Installation View


Diane Tate DallasKidd, Untitled (Red, No.1), 2018
Acrylic Paint on Hand-Knotted Linen Threads, Brass, 44 x 9 Inches


David Becker, Black Daisy 1, 2015, (Installation View) Acrylic Paint on Canvas, 86 x 86 Inches


David Kimball Anderson, Summer Astronomy, 2018, Bronze, Steel, Paint, 33 x 13 x 12 Inches


Joe Brubaker, Dark Moon 3, 2017, Cedar, Black Paint, Rubbed Graphite, 20 x 16 x 3 Inches


Robert Charles Dunahay, On Leisurely Drive, 2017, (Installation View)
Mixed Media on Canvas, 64 x 64 Inches


Miya Ando, Grey Black White Meditation Mandala, 2018, Dyed, Bodhi (Ficus Religiosa) Skeleton Leaves, Monofilament, Archival Ragboard, 62 x 62 x 2 Inches (Framed)


Miya Ando, Red Orange Mandala, Violet Mandala, Murasaki Meditation Mandala, 2015, Dyed Bodhi (Ficus Religiosa) Skeleton Leaves, Monofilament, and Archival Ragboard, 41 x 41 x 2 Inches Each



Squeak Carnwath, Elvis, 2017, Oil and Alkyd with 24-Karat Gold Leaf
on Canvas over Panel, 70 x 70 Inches



Sloan Miyasato Fine Art Installation View


Never one to shy away from making headlines, Squeak Carnwath is gracing the pages of Nob Hill Gazette as one of four San Francisco Bay Area art icons.

Her distinctive style has long attracted attention with its riot of color, text, patterns, and identifiable images. But for all their humor and playfulness, her paintings also give us pause. Drawing upon the philosophical and mundane experiences of daily life, Carnwath delves deep into our collective subconscious.

Pants on Fire, her most recent series, follows in the footsteps of her earlier works, only on steroids. These are crazy making. We laugh or scream louder and are left speechless. What can you say? Painting them was cathartic for Carnwath who (spoiler alert) in her studio listens nonstop to news and music.

Music has clearly taken center stage with Carnwath’s other recent body of work the Song Paintings. “Basically I am searching for the perfect playlist. It’s fun to turn that into a painting. I love how the song titles turn the works into one big poem.”

Hanging alongside her Liar works and a group of her earlier hits, drop by Sloan Miyasato soon to see these wonderful paintings curated by Michelle Bello. Why?
They sing.



Squeak Carnwath, Little Baby, 2016, Oil and Alkyd on Canvas over Panel, 30 x 30 Inches



Squeak Carnwath, Pants on Fire 59, 2017, Oil and Alkyd on Clayboard, 20 x 16 Inches



Squeak Carnwath, Pants on Fire 32, 2017, Oil and Alkyd on Canvas, 12 x 12 Inches



Squeak Carnwath, Pants on Fire, Oil and Alkyd on Canvas,
Approx. 12 x 12 Inches Each Variable, Available Individually



Squeak Carnwath


Squeak Carnwath draws upon the philosophical and mundane experiences of daily life in her paintings and prints, which can be identified by lush fields of color combined with text, patterns, and identifiable images. A Professor Emerita at the University of California, she has received numerous awards including the Society for the Encouragement of Contemporary Art (SECA) Award from San Francisco Museum of Modern Art, two Individual Artist Fellowships from the National Endowment for the Arts, a Guggenheim Fellowship and the Award for Individual Artists from the Flintridge Foundation. She has exhibited widely throughout the country and her work is held in significant public collections including the San Francisco Fine Arts Museum, Yale University Art Gallery, Oakland Museum of California, Microsoft Corporation, Rene and Veronica de Rosa Collection, Brooklyn Museum, Berkeley Art Museum, San Jose Museum of Art, San Francisco Museum of Modern Art, and Metropolitan Museum of Art.


On Leisurely Drive, 2017
Mixed Media on Canvas
64 x 64 Inches





Catsuit, 2013
Cast Aluminum
33 x 20 x 10 Inches


Lost Coast VII – Icy Cliff, 2014
Oil, Wax on Wood
48 x 48 Inches


Weather Overground, 2016
Oil on Panel
60 x 48 Inches


Celestial Venus, 2016
Melted Solder over Plaster on Granite Base
37 x 9 x 9 Inches




Improvisational and passionate, the recent abstract paintings of Yari Ostovany
straddle a nebulous realm between the mysterious, mystical, and spiritual. In the studio, Ostovany strives to lose himself and cross into the unconscious–both the personal and collective. Painting to him is an intimate journey of exploration through the alchemy of color, light, texture, and the poetics of space. As his journey ends, ours begins.

Above: Yari Ostovany, Simorgh Descending V, 2016
Oil on Canvas, 80 x 80 Inches


Yari Ostovany, Simorgh Ascending, 2017
Oil on Canvas, 90 x 48 Inches

“My work has to do with the dichotomy of light and gravity and the quest for Lux Aeterna, or self-generating light, rather than one coming from an external source,” says Ostovany. “Each series has its origin in an emotional or cognitive spark, an experience which is used as a point of departure leading to gestural outbursts and atmospheric passages.”


Yari Ostovany, Monument to a Poet, 2017
Oil on Canvas, 72 x 72 Inches

Works are made over time with layers upon layers of thick and thin washes and glazes, providing both luminous and opaque passages. Often starting with gestural marks, these solid forms then dissolve as the layers explode and implode by adding, rubbing out, reapplying, scouring into, and scraping away. This practice of going back and forth only stops when Ostovany senses the whole has become greater that the sum of its parts.


Yari Ostovany, Chelleneshin 37, 2016
Oil on Canvas, 48 x 36 Inches

Ostovany says, “I see abstraction as representational insofar as it is a representation of a psychic state, not an external reality. The trajectories in contemporary painting in which my work belongs range from Abstract Expressionism in the west to Persian, Taoist, and Zen aesthetic sensibilities in the East, and other perennial visionary paths of wisdom.”


Yari Ostovany, Prometheus, 2017
Oil on Canvas, 48 x 35 Inches


Yari Ostovany, The Crossing, 2017
Oil on Canvas, 77 x 95 Inches


Yari Ostovany, The Valley of Yearning, 2017
Oil on Canvas, 48 x 90 Inches


Photograph of Yari Ostovany by Dariush Nehdaran

Born in Iran in 1962, Yari Ostovany moved to the United States at the age of 16. He first studied art at the University of Nevada in Reno, and then received his MFA at the San Francisco Art institute in 1995. Based in Cologne, Germany, from 2000 to 2004, Ostovany currently lives and works in Berkeley, California. He has taught, traveled, and exhibited his art extensively in the United States and internationally. His work is held in numerous personal and permanent collections around the world.


It was a noisy Friday night. The art studios in the building were at capacity, overflowing with reception goers and competing genres of overly exuberant art. When I walked into Diane Tate DallasKidd’s space, the noise stopped. The room was spare and calm, and her art was a world apart from the others outside. It was both subtle and strong. At what first glance appeared to be all black paintings with slivers of gold, I eventually noticed an almost imperceptible background of the deepest, darkest blue. I felt that I had discovered a secret on that noisy Friday night, one that I want to share. Please join me in viewing the works of emerging artist Diane Tate DallasKidd at Sloan Miyasato Fine Art.

-Michelle Bello

Above Image: Diane Tate DallasKidd, Introspect 3, 2017
Acrylic on Wood Panel, 48 x 73.5 x 1.6 Inches

Diane Tate DallasKidd, Flight of Fancy 1-6, 2014
Acrylic on Wood Panel, 24 x 18 Inches

Folds of Gold is about transferring the inspired moment to the viewer. Pieces were composed by swift and intuitive acts of folding paper. Folding requires the body to envelop the material, layering planes of space over and unto itself. Using this 3D approach to create a ‘flat’ painting allowed for a spontaneous mode of expression,” says Diane Tate DallasKidd.

Diane Tate DallasKidd, Modules 1-4, 2014
Acrylic on Wood Panel, 24 x 18 Inches Each, 36 x 48 All

Diane Tate DallasKidd
Artist Portrait Photo by Dana Spaeth

Diane Tate DallasKidd was born and raised in San Francisco. Upon graduating from SF State University with a BFA in Textile Art, she traveled to Japan to study under 4th generation dyer Tsuyoshi Kuno. Kuno uses centuries old shibori techniques in inventive ways to create cutting-edge textiles for avante-garde fashion designers such as Issey Miyake. Shibori is a dye-resist technique in which pattern is created by keeping areas of the cloth from taking color using methods such as stitching, tying, and folding. Working alongside these visionary textile artisans had a lasting impact on DallasKidd’s own artwork. In addition to continuing to experiment with textiles in her art practice, she brings the same vision and dedication to process in her most recent body of paintings Folds of Gold.

Diane Tate DallasKidd, Introspect 3 and 4, 2017 (Installation View)
Acrylic on Wood Panel, 48 x 73.5 x 1.6 Inches