Covid has drastically altered Jeff and Wendy’s wildlife photography. Typically, they are traveling to different parts of the world and within the USA photographing a wide variety of animals, but Covid has allowed them to focus on all of the amazing wildlife that can be found locally.  It has also provided Jeff, who does wildlife drawing, with the opportunity to devote more time creating charcoal drawings of animals that are near and dear to his heart such as a gray fox, great horned owl and a river otter. Giclée prints of these animals are available for sale at the gallery.

​This fall, Jeff and Wendy enjoyed spending time with two juvenile great horned owls, who allowed them to capture some very breathtaking images of owl behavior. One image is of one of the young raptors taking flight and another image captures one of the owls having a stare down with its parent as it begged to be fed!  The adult won the stare down and flew away! 

Bobcats and river otters are two of their favorite subjects and over the past six months they have been able to observe and photograph these two apex predators on many occasions. They have also spent time photographing a variety of shorebirds and songbirds often capturing images of them in flight.

They are also very involved in conservation efforts and time at home has allowed them to create Zoom presentations and write articles about conservation issues and ethical photography. They donate their images to Lindsay Wildlife, Sea Otter Savvy and River Otter Ecology Project to support nonprofits that are doing tremendous work promoting awareness and support for wildlife conservation issues.
 
Jeff’s limited edition charcoal pencil drawings are also available for sale at the gallery.

Please  visit Fourth Street Fine Art where you can view their photographs and Jeff’s drawings that are on display or spend a little time exploring their website and step into a world of wildlife wonder  www.jeffandwendyphotography. If you find an image you would like to purchase, please contact them and they will create a custom metal or giclée  print produced just for you!
 
Jeff and Wendy’s  goal is to capture images which promote an awareness and respect for all wildlife and provide people with a piece of art that reminds them of the importance of connecting with wildlife on an emotional level. So why not bring a little wildlife into your home- we know it will sooth your soul.

Cindy has been preparing for a show that she will display with a botanical painter, Sal Petru, in January, 2020. Due in part to Covid, she has returned to an early love, painting flowers in watercolor. This is the story of one piece for the show.
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While she usually uses her own photos, the photo which she used as a springboard for this painting is a stock photo:

Why did she call it “For Ms. Delany”? In the late 18th century, the 72-year-old Mary Granville Pendarves Delany (1700–1788) began making cut paper collages in the manner of a botanical painting, or as she described it “…a new way of imitating flowers”. Over the next ten years, she created roughly 1,000 of these paper “mosaicks” that are of such accuracy and artistry as to be compared to the great botanical illustrations of the day. When completed, they were bound into ten volumes to become the Flora Delanica.
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Delany’s method was to form the plants from pieces of wallpaper or hand-colored paper that she had cut with a scalpel and small scissors. (11/15/15 issue of periodical "Desert Breeze”. )

The show goes up on January 10 through February 28 and there is a reception from 1 to 3 PM on January 31st. Looking forward to seeing you there!

I find inspiration everywhere from junk stores to natural landscapes to urban sidewalks to historical ruins to the hardware store. I am always wondering who was there before me, what lives objects lived before I encountered them, how materials could be used in an unexpected way, and how I can add to the story.​​

​Where I grew up, everyone was an artist - creating the structures and decorations of daily rituals and ceremonies. I am no different but took the practice seriously. My sense of security and my hope for prosperity were tied to my creative efforts. ​

I start a painting without a preconceived thought. Even if I have something in mind, it loses its grip by the final stage. I do not predict my brushwork - I work to the edge of my canvas until there is no room to drag the brush any further. The frame of my canvas is the limit. Sometimes I like to be in the limitation which generates tremendous pressure to go beyond the edge or surface. This creates a visual energy within the canvas. ​

At this point, you can call me an artist but I need to prove it truthfully. I want to go beyond the game of failure or success.

The lockdown situation gives an example to understand the pressure of creative urge within limitations. All of my art works I have done during this time are a struggle to escape from the limitations. Deliberately I chose a color palate - predominantly grey and brown. Each treatment or element has its own struggle, conflict, and conclusion. Society is going through a change due to the pandemic, and the part I can control is my own discipline in my art. I find shelter in my canvas.

One of the art works from this series is called “Stuck” which is featured in the 34th Annual Emeryville Art Exhibition 2020 and selected for honorable mention and purchase by the City of Emeryville for their Public Art Collection.
Come and shelter in my canvas.  

​My name is Greg and my work and art meld into one. Like many others during this pandemic my work life has been adversely affected.  After over four months off, I am finally back out running a tugboat and doing what I truly love.

​When the news came on March 19th that all of California had to shelter-in-place and our gallery had close its doors immediately, we began to wonder if our little store would be a casualty of the pandemic. Our co-op had to pivot quickly from a brick-and-mortar gallery to an online ecommerce platform. (link to https://www.4thstreetfineartshop.com). Though we don’t yet know the future for our gallery, I wanted to write about the history of our group in this blog post, to give you, readers, an idea of the deep bonds that may help us survive.
I joined the studio in 2003, when it was operating as “4th Street Studio” and located at 4th and Virginia. At the time, I was thirty-three, recently married and new to the East Bay. Like many of the artists, I worked a day job and dreamed of the day when I could paint full time. 

For ten years, the gallery was run by our fearless leader, Gera Hasse, who created a welcoming and creative atmosphere for all her artists. Because she handled all the stressful parts of the gallery, like making sales, paying rent and publicity, we artists just painted, lunched, and philosophized. Overflowing receptions and rockin’ Halloween parties symbolized the good times at the studio.

​In our new location, we operate as a co-op, with the work distributed across our eighteen members. Learning to run a gallery as a group proved challenging. We’ve all had moments when we wanted to storm out in a huff and say “I’m never talking to you again!” but somehow we have persevered. After eight years in the new location, our doors are still open and a core group of the original members remains. New members have enlivened our group and schooled us in the latest technology to make and sell art. 

When COVID-19 hit, like many people, we thought it would last a month or two. Now we understand we may be facing a year of upheaval, with unexpected closures or little foot traffic. Still, when we met to decide whether we should give up, everyone voted no. The ties that bind us are long years of working together. We have given each other critiques, shared supplies, strategized on shows, consoled each other on failures and cheered (maybe a bit jealously) when some of our members scored shows in New York. We have never said the word “love” in our by-laws and mission statements but not giving up is a form of love. I am typical of many of our members—I got older, never really quit the day job or got famous, but I still smile with pleasure every time I pick up a paint brush. That’s why we still make art. 

Come by, friends, because we are still open!   

It’s taken me a little while to settle down and focus on making something specific these past few weeks. The world has been ravaged by a virus that prompted acts of courage, as well as political calculations and irrational policies. As during any crisis, heroes saved the day or at least the hour; villains, idiots, and villainous idiots gave humans a bad name. The majority of us, mere mortals, caught in between, tried to simply figure out what to do. 

One thing soon became clear to most: the fastest antidote to the pandemic, if not to the virus itself, was self-isolation. As one of the privileged few not immediately (physically or economically) at risk, I was barely affected by the confinement orders themselves. The disease's progression, the wave of suffering it created, and the uncertainty of the future have dragged me down. I can't help but worry about my more vulnerable friends and family members. I am especially weary of the distance separating me from my aging parents, who live on another continent, and whom I probably won't be able to visit for a very long time. 

Still, well aware of my good fortune to be able to "shelter in place" in a green and peaceful environment, I have set up shop in my backyard. Using leftover wire from previous projects, I have been making small sculptures. Some are reminiscent of trees, others pod-like. I thought to liven them up with lichen collected from fallen branches and twigs during walks. I added air plants for variety, and because they, like lichen, survive on nutrients in the air, light and a simple, if regular, spritz of water. 

Once again, making art has helped me to process chaos and make some sense of it. These miniature ecosystems remind me of life during the pandemic. Arranging plants and lichen in their various wire niches, I think of our homes containing our lives, and families having to share limited space. Some of them are reunited after living independently, a challenging yet worthy exercise in communication and adaptability.

I look at my “life pods", and they make me smile. I remember the words of a teacher I recently heard interviewed (on podcast The Daily, “The Struggle to Teach From Afar”). She talked about how she was envisioning her classroom during the pandemic. She said one of the things she was going to miss most was the "calming caddy." It was a collection of simple things, such as a little stuffed animal or scented lotion. A child could pick these items up to help them deal with powerful emotions and bring them gently back to the classroom. 

I hope everyone can find a little something to lift their spirits and lighten, even briefly, the weight of the world on their shoulders, a little something to remind them of how life, even when confined, can flourish. One silver lining of the pandemic might be how it makes us look inwards and, if only for a minute, find pleasure and hope in simple things. 

Here are a few words from our artist, Michael Sacramento, regarding his current series: Urban Inspired

Please introduce yourself. Who are you? Where did you grow up? Where do you live?
Gregory Urban. I was born in Colorado but grew up in Florida. I have lived in the Bay Area since 1987 & reside on my 57’ yacht Élan in the Berkeley Marina.

Tell us more about what you create. What style(s) do you work in, mediums, etc.
Marine Industrial Photography/Art is what I’ve decided for a label for what I do. I’ve been printing my photography on canvas & metal, as well as matting & framing prints. Recently I’ve started to laser cut or burn images, including my photos, edited in Photoshop, on whitewashed birch or driftwood. I’m very excited about working in this new medium.

Where can we find your art besides at 4th Street?
Instagram. @tugcaptain11

How long have you been creating?
I’ve been taking photos from the tugs I work on since 2010 & have only recently been encouraged to follow my art and do something more.

When you're not making your art, what do you do?
Push or pull big ships around.

Is creativity a luxury or necessity for you? Tell us more about that.
Both. Or just a natural instinct. My parents met in art school. Since I opened my eyes to the unique view/perspective of my office view I have been compelled to share it.

Did someone in your family, a friend or teacher introduce you to your creative side or have they helped you along the way?
I grew up with photography & art all around me.

Where do you find inspiration?
Looking out the wheelhouse windows.

What’s on the horizon for you and what you do?
No idea. The possibilities with the laser cutting seem to be endless. Loving playing with the new technique.

If money wasn’t an issue how would your life change with regards to your art?
I’d devote much more time to it.

What inspiring advice would you give to other creatives be they established or just starting out?
Try to see things around you differently. I’m drawn to color & texture. Everyday objects or things you see, framed differently, or with squinted eyes, take on a beauty often not expected.

Anything else you'd like to share?
The Office View Series
In 2010 I started a photo series on Instagram that I titled the “Office View Series”. My sole inspiration was to share my work or “office” view with people.
This series is an invitation for the viewer to step out on the tug with me and to see what I see, how I see it, as an artist. Some days everything seems wonderful and different, the light almost magical. Other times it’s trying to see an ordinary thing in an extraordinary way. Everything is subject to the eye’s interpretation. My work celebrates my day to day out on the water. Please join me in my wheelhouse and let’s take a short boat ride.