We love Miriam Sweeney and her art. She loved art as a young woman, but then started a family and so art took a backseat. Miriam re-started her creation of art in the past five years or so.
Her city map pieces are about her love of place and all the memories she has of places she has been with the people she loves. Her egg shells and bees work is about the fragility of life. Her map and memorabilia pieces are about the lives we lead and all the history packed inside. If I recall correctly, the three lines on some pieces are about her three sons.
Phillip Hua is a San Francisco-based artist celebrated for his innovative mixed-media works that explore the intersection of nature, technology, and sociopolitical themes. Born and raised in San Jose, California, Hua grew up surrounded by rural landscapes that have since been transformed by Silicon Valley's rapid development. His childhood fascination with insects and nature inspired his artistic journey, which later evolved into a broader commentary on environmental degradation and digital life12.
Hua earned a BFA from the Academy of Art University in San Francisco and has exhibited his work nationally and internationally. His art combines traditional techniques, such as Chinese brush painting, with contemporary digital methods. Using materials like rice paper, wood panels, gold leaf, and industrial tape, he creates layered compositions that evoke themes of impermanence and interconnectedness. His use of grids and vibrant patterns reflects influences of mapping and digital screens12.
In 2016, Hua received a public art commission for the redesign of the 19th Street Oakland BART station. His work has been featured in prominent publications like The San Francisco Chronicle and Huffington Post. Currently, Hua teaches Digital Media at the Academy of Art University while continuing to produce evocative art that bridges tradition and modernity2.
In Phillip Hua's artwork, references to market statistics and natural elements like butterflies, cranes, and birds serve as metaphors for the tension between commerce, environmental degradation, and the beauty of nature. Hua juxtaposes financial graphs and newspaper clippings with depictions of flora and fauna to highlight the impact of economic growth on the environment. This contrast reflects his observations during a trip to Beijing, where he witnessed China's economic boom alongside significant ecological harm13.
The inclusion of butterflies, cranes, and other birds carries symbolic meanings rooted in both Chinese tradition and contemporary themes. For instance, cranes often symbolize longevity, while butterflies represent transformation and ephemeral beauty. These motifs evoke a sense of harmony and timelessness, contrasting with the transient nature of market data and human activity23. Hua's use of these symbols emphasizes the interconnectedness of life and the need for balance between progress and preservation.
By layering these elements in his mixed-media works, Hua invites viewers to reflect on the passage of time, the subjective nature of reality, and humanity's role in shaping the natural world. His art serves as a poignant commentary on how modern life blends digital and corporeal experiences while grappling with environmental consequences13.
Phillip Hua is a San Francisco-based artist celebrated for his innovative mixed-media works that explore the intersection of nature, technology, and sociopolitical themes. Born and raised in San Jose, California, Hua grew up surrounded by rural landscapes that have since been transformed by Silicon Valley's rapid development. His childhood fascination with insects and nature inspired his artistic journey, which later evolved into a broader commentary on environmental degradation and digital life12.
Hua earned a BFA from the Academy of Art University in San Francisco and has exhibited his work nationally and internationally. His art combines traditional techniques, such as Chinese brush painting, with contemporary digital methods. Using materials like rice paper, wood panels, gold leaf, and industrial tape, he creates layered compositions that evoke themes of impermanence and interconnectedness. His use of grids and vibrant patterns reflects influences of mapping and digital screens12.
In 2016, Hua received a public art commission for the redesign of the 19th Street Oakland BART station. His work has been featured in prominent publications like The San Francisco Chronicle and Huffington Post. Currently, Hua teaches Digital Media at the Academy of Art University while continuing to produce evocative art that bridges tradition and modernity2.
In Phillip Hua's artwork, references to market statistics and natural elements like butterflies, cranes, and birds serve as metaphors for the tension between commerce, environmental degradation, and the beauty of nature. Hua juxtaposes financial graphs and newspaper clippings with depictions of flora and fauna to highlight the impact of economic growth on the environment. This contrast reflects his observations during a trip to Beijing, where he witnessed China's economic boom alongside significant ecological harm13.
The inclusion of butterflies, cranes, and other birds carries symbolic meanings rooted in both Chinese tradition and contemporary themes. For instance, cranes often symbolize longevity, while butterflies represent transformation and ephemeral beauty. These motifs evoke a sense of harmony and timelessness, contrasting with the transient nature of market data and human activity23. Hua's use of these symbols emphasizes the interconnectedness of life and the need for balance between progress and preservation.
By layering these elements in his mixed-media works, Hua invites viewers to reflect on the passage of time, the subjective nature of reality, and humanity's role in shaping the natural world. His art serves as a poignant commentary on how modern life blends digital and corporeal experiences while grappling with environmental consequences13.
Alvar Jacomet is an American-Argentinian artist based in San Francisco, known for his innovative approach to painting and ceramics. He originally studied fine art in Buenos Aires, focusing on sculpture before transitioning to digital art and later painting at City College of San Francisco. His artistic style is deeply influenced by architecture, shaped by his university mentors and inspirations like Lebbeus Woods, an architect known for his experimental designs.
Jacomet's work often explores themes of history, culture, queerness, and identity. He is particularly recognized for reimagining traditional ceramic tile art, such as Iberian azulejo and Mexican talavera, through a modern queer lens. Using materials like cobalt blue and tin white, he challenges the colonialist roots of these art forms by incorporating themes of male homosexuality and gay erotica. His "homosexual gay-ze" offers a fresh perspective on the male body while connecting ceramics with queer culture.
One of his notable pieces, 9/9/2020 (2024), reflects on personal and collective experiences during the COVID-19 pandemic, including the surreal orange skies caused by California wildfires. Inspired by artists like Vincent van Gogh, Jacomet’s work combines emotional depth with a bold reinterpretation of traditional mediums, making him a distinctive voice in contemporary art.
We love Miriam Sweeney and her art. She loved art as a young woman, but then started a family and so art took a backseat. Miriam re-started her creation of art in the past five years or so.
Her city map pieces are about her love of place and all the memories she has of places she has been with the people she loves. Her egg shells and bees work is about the fragility of life. Her map and memorabilia pieces are about the lives we lead and all the history packed inside. If I recall correctly, the three lines on some pieces are about her three sons.
Phillip Hua is a San Francisco-based artist celebrated for his innovative mixed-media works that explore the intersection of nature, technology, and sociopolitical themes. Born and raised in San Jose, California, Hua grew up surrounded by rural landscapes that have since been transformed by Silicon Valley's rapid development. His childhood fascination with insects and nature inspired his artistic journey, which later evolved into a broader commentary on environmental degradation and digital life12.
Hua earned a BFA from the Academy of Art University in San Francisco and has exhibited his work nationally and internationally. His art combines traditional techniques, such as Chinese brush painting, with contemporary digital methods. Using materials like rice paper, wood panels, gold leaf, and industrial tape, he creates layered compositions that evoke themes of impermanence and interconnectedness. His use of grids and vibrant patterns reflects influences of mapping and digital screens12.
In 2016, Hua received a public art commission for the redesign of the 19th Street Oakland BART station. His work has been featured in prominent publications like The San Francisco Chronicle and Huffington Post. Currently, Hua teaches Digital Media at the Academy of Art University while continuing to produce evocative art that bridges tradition and modernity2.
In Phillip Hua's artwork, references to market statistics and natural elements like butterflies, cranes, and birds serve as metaphors for the tension between commerce, environmental degradation, and the beauty of nature. Hua juxtaposes financial graphs and newspaper clippings with depictions of flora and fauna to highlight the impact of economic growth on the environment. This contrast reflects his observations during a trip to Beijing, where he witnessed China's economic boom alongside significant ecological harm13.
The inclusion of butterflies, cranes, and other birds carries symbolic meanings rooted in both Chinese tradition and contemporary themes. For instance, cranes often symbolize longevity, while butterflies represent transformation and ephemeral beauty. These motifs evoke a sense of harmony and timelessness, contrasting with the transient nature of market data and human activity23. Hua's use of these symbols emphasizes the interconnectedness of life and the need for balance between progress and preservation.
By layering these elements in his mixed-media works, Hua invites viewers to reflect on the passage of time, the subjective nature of reality, and humanity's role in shaping the natural world. His art serves as a poignant commentary on how modern life blends digital and corporeal experiences while grappling with environmental consequences13.
Phillip Hua is a San Francisco-based artist celebrated for his innovative mixed-media works that explore the intersection of nature, technology, and sociopolitical themes. Born and raised in San Jose, California, Hua grew up surrounded by rural landscapes that have since been transformed by Silicon Valley's rapid development. His childhood fascination with insects and nature inspired his artistic journey, which later evolved into a broader commentary on environmental degradation and digital life12.
Hua earned a BFA from the Academy of Art University in San Francisco and has exhibited his work nationally and internationally. His art combines traditional techniques, such as Chinese brush painting, with contemporary digital methods. Using materials like rice paper, wood panels, gold leaf, and industrial tape, he creates layered compositions that evoke themes of impermanence and interconnectedness. His use of grids and vibrant patterns reflects influences of mapping and digital screens12.
In 2016, Hua received a public art commission for the redesign of the 19th Street Oakland BART station. His work has been featured in prominent publications like The San Francisco Chronicle and Huffington Post. Currently, Hua teaches Digital Media at the Academy of Art University while continuing to produce evocative art that bridges tradition and modernity2.
In Phillip Hua's artwork, references to market statistics and natural elements like butterflies, cranes, and birds serve as metaphors for the tension between commerce, environmental degradation, and the beauty of nature. Hua juxtaposes financial graphs and newspaper clippings with depictions of flora and fauna to highlight the impact of economic growth on the environment. This contrast reflects his observations during a trip to Beijing, where he witnessed China's economic boom alongside significant ecological harm13.
The inclusion of butterflies, cranes, and other birds carries symbolic meanings rooted in both Chinese tradition and contemporary themes. For instance, cranes often symbolize longevity, while butterflies represent transformation and ephemeral beauty. These motifs evoke a sense of harmony and timelessness, contrasting with the transient nature of market data and human activity23. Hua's use of these symbols emphasizes the interconnectedness of life and the need for balance between progress and preservation.
By layering these elements in his mixed-media works, Hua invites viewers to reflect on the passage of time, the subjective nature of reality, and humanity's role in shaping the natural world. His art serves as a poignant commentary on how modern life blends digital and corporeal experiences while grappling with environmental consequences13.
Alvar Jacomet is an American-Argentinian artist based in San Francisco, known for his innovative approach to painting and ceramics. He originally studied fine art in Buenos Aires, focusing on sculpture before transitioning to digital art and later painting at City College of San Francisco. His artistic style is deeply influenced by architecture, shaped by his university mentors and inspirations like Lebbeus Woods, an architect known for his experimental designs.
Jacomet's work often explores themes of history, culture, queerness, and identity. He is particularly recognized for reimagining traditional ceramic tile art, such as Iberian azulejo and Mexican talavera, through a modern queer lens. Using materials like cobalt blue and tin white, he challenges the colonialist roots of these art forms by incorporating themes of male homosexuality and gay erotica. His "homosexual gay-ze" offers a fresh perspective on the male body while connecting ceramics with queer culture.
One of his notable pieces, 9/9/2020 (2024), reflects on personal and collective experiences during the COVID-19 pandemic, including the surreal orange skies caused by California wildfires. Inspired by artists like Vincent van Gogh, Jacomet’s work combines emotional depth with a bold reinterpretation of traditional mediums, making him a distinctive voice in contemporary art.
Eleanor and I went to an art exhibit at 224 Mississippi St. at the Gallery of the photographer Harry Williams. He has an amazing daughter named Paige who’s nine years old and was selling art for both Harry and the other artists. Paige is amazingly poised and articulate! Harry also has a son named Kai who was the official photographer for the evening.
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The show was titled The Heart is Still Here, A Love Letter and Tribute to San Francisco. That sentiment is so reflective of Miriam, who puts her love into both her artwork and all the people who are lucky enough to in relationship with her. What a great subject for an event, getting us to focus on and remember why we love this city.
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The gallery space at 224 Mississippi is terrific. Open and light; it worked even when it got more crowded.
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Here's Miriam Sweeney, who wanted to be an artist when she was very young, but marriage and family and kids intervened. She has only focused her energy on art in roughly the past five years and I am so grateful for her and her work.
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Here's 9 year old Paige explaining Miriam's art to a client.
I loved the story that Miriam told about the designer of the Muni logo.
To find an image of Walter Landor, you can visit the "Walter Landor - Immigrant Entrepreneurship" webpage or the "Area of Design" article, both of which may feature photographs or illustrations of him13. Additionally, his sepia portrait is described on the company’s website as part of their branding materials, portraying him in a refined European style5. These sources are likely to provide visual references to Walter Landor.
Walter Landor (1913–1995) was the visionary designer behind San Francisco's iconic "Muni Worm" logo, created in 1975. Born in Munich, Germany, Landor was an influential figure in branding and industrial design. After studying in Great Britain and working on the British Pavilion at the 1939 New York World’s Fair, he founded Walter Landor & Associates in San Francisco in 1941. His firm became renowned for pioneering corporate identity and branding techniques, designing for major clients like Levi’s, Coca-Cola, and FedEx347.
The "Muni Worm" logo, commissioned for the San Francisco Municipal Railway (Muni), debuted alongside a bold "Sunset" livery. The design features intertwined red-orange lines forming the word "MUNI," symbolizing movement and interconnectedness while reflecting San Francisco's dynamic streets and hills169. Despite its simplicity, the logo became a cultural icon, appearing on buses, streetcars, and merchandise for decades.
Landor's work extended far beyond Muni; he designed logos for global brands and airlines, earning accolades like a permanent collection at the Smithsonian Institution. His legacy endures through his timeless designs that blend functionality with artistic appeal47. Today, the "Muni Worm" remains a beloved emblem of San Francisco's transit system.
Miriam's work is amazing in the way it draws you in.
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Eleanor says I'm her favorite artist, but I know she's just flattering me. That said, I do think that curating is an artistic endeavor.
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Here's Harry Williams, who owns the Mississippi Street gallery. He mentioned to me that would be interested in collaborating with others who might want to organize shows using his space.
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Harry's work is memorable, gritty and amazing. He told us the story about this image, how Harry just happened to be there while the bus drove too close to this person, who kicked at the bus. Harry asked the person what to name the photo and, because the person is trans, it seemed like Transit was the perfect title.
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This is Derek Lynch, whose work has been featured at SFO airport.
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I love how it appears both natural and fictional, all at the same time. I loved to see this person hanging out right next to the huge flower.
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This is Shrey Purohit, who does an amazing job capturing the feel of the city.
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I asked Shrey when he became a professional artist and he said that he has been painting for the past ten years, but he became a professional when his landlord started demanding his rent. (Did i get that right?)
This is John Musgrove, whose work shows San Francisco in so many lights.
John Musgrove is a San Francisco-based artist celebrated for his evocative depictions of the city’s understated beauty, particularly in the Sunset District. Born and raised in Florida, Musgrove earned a degree in graphic design from the University of Florida before moving to San Francisco in 1980. Initially working as a commercial artist and user-interface designer, he transitioned to full-time painting in 2001 after being laid off during the tech downturn. This career shift allowed him to focus on his passion for capturing the ordinary yet striking elements of urban life.
Musgrove's work is heavily influenced by the minimalist realism of Edward Hopper. His paintings often feature quiet cityscapes, pastel stucco houses, and iconic yet overlooked objects like mailboxes or vintage cars. He is known for his ability to transform mundane scenes into compelling compositions through refined lighting and subtle abstraction. His pieces, such as "Relics" and "Foggy Judah," convey a deep appreciation for San Francisco's unique architecture and light.
Living in the Sunset District for over two decades, Musgrove continues to find inspiration in its evolving landscapes. Supported by his wife, Christina Murphy, he balances family life with his artistic pursuits, showcasing his work through local galleries, Open Studios events, and commissions.
We loved this wide selection of his work and the way that light is portrayed in so many different ways.
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Our favorite was this image, because of the angular, boxy shapes of the buiding, the street and the street pole, and then cured vw bug. I also liked the light of the sky and was thinking that this was depicting nightime, but with the streetlight illuminating the building, the bug and the street.
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This is Philip Hua, when Eleanor and I met him at an ArtSpan event.
Phillip Hua is a San Francisco-based artist celebrated for his innovative mixed-media works that explore the intersection of nature, technology, and sociopolitical themes. Born and raised in San Jose, California, Hua grew up surrounded by rural landscapes that have since been transformed by Silicon Valley's rapid development. His childhood fascination with insects and nature inspired his artistic journey, which later evolved into a broader commentary on environmental degradation and digital life12.
Hua earned a BFA from the Academy of Art University in San Francisco and has exhibited his work nationally and internationally. His art combines traditional techniques, such as Chinese brush painting, with contemporary digital methods. Using materials like rice paper, wood panels, gold leaf, and industrial tape, he creates layered compositions that evoke themes of impermanence and interconnectedness. His use of grids and vibrant patterns reflects influences of mapping and digital screens12.
In 2016, Hua received a public art commission for the redesign of the 19th Street Oakland BART station. His work has been featured in prominent publications like The San Francisco Chronicle and Huffington Post. Currently, Hua teaches Digital Media at the Academy of Art University while continuing to produce evocative art that bridges tradition and modernity2.
In Phillip Hua's artwork, references to market statistics and natural elements like butterflies, cranes, and birds serve as metaphors for the tension between commerce, environmental degradation, and the beauty of nature. Hua juxtaposes financial graphs and newspaper clippings with depictions of flora and fauna to highlight the impact of economic growth on the environment. This contrast reflects his observations during a trip to Beijing, where he witnessed China's economic boom alongside significant ecological harm13.
The inclusion of butterflies, cranes, and other birds carries symbolic meanings rooted in both Chinese tradition and contemporary themes. For instance, cranes often symbolize longevity, while butterflies represent transformation and ephemeral beauty. These motifs evoke a sense of harmony and timelessness, contrasting with the transient nature of market data and human activity23. Hua's use of these symbols emphasizes the interconnectedness of life and the need for balance between progress and preservation.
By layering these elements in his mixed-media works, Hua invites viewers to reflect on the passage of time, the subjective nature of reality, and humanity's role in shaping the natural world. His art serves as a poignant commentary on how modern life blends digital and corporeal experiences while grappling with environmental consequences13.
We bought this piece and love the duality of commerce and nature that is present in Philip's work.
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This is Alvar Jacomet, whom I did not get to meet, and he'll probably be angry with me for sharing this photo.
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But he was so serious in this photo, talking with a client, that I was glad to see his whimsical side.
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His work makes me happy, these bulging buildings that are almost 3d. I suppose it doesn't hurt that we have a home here in SF that could be the basis of one of his works.
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I have so loved going to art shows in the past few years because there IS a vibrant community of artists and collectors here and it's a huge reason why we love San Francsico. It was great to catch up with Michelle Cook, on of the Artspan Board Members, Miriam's friend Mary, David Simpson, who also went to Williams College and is friends with Derek Lynch, as well as the artist Ray Gonzalez, in the picture here. We bought one of Ray's pieces at the JCC Artspan event a few years ago. We really love her work.
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It was a great show. Our thanks all of the artists and especially to Harry for the venue and to Miriam for leading us all to share the love.
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I don't know much about who this was, but it sure was a cool look.
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Exhibit ID:674
0
0
27
62
26
The Heart Is Still Here - March 29, 2025
Exhibit Stories:
The Heart Is Still Here - March 29, 2025
3/29/25 - Eleanor and I went to an art exhibit at 224 Mississippi St. at the Gallery of the photographer Harry Williams. He has an amazing daughter named Paige who’s nine years old and sold art for both Harry and the other artists. She's only 9 years old! Harry also has a son named Kai who was the official photographer for the evening.
![[ 2025-03-30 14:59:09 ]](https://pxpbstrg.s3.us-west-1.amazonaws.com/images/thumbs/1743346767.jpeg)
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