Wesley Anderegg (American, 1958)

Wesley’s exhibition history is impressive by almost any standard. Over the last 28 years, he has had 22 solo exhibitions, and participated in countless group exhibitions and art fairs all across the United States. In addition, his work has been featured in Lark Books’ highly successful catalogue series three times – “500 Ceramic Sculptures”, “500 Clay Figures” and “ The Best of 500 Ceramics”. His work has also been featured in “Confrontational Ceramics: The Artist as Social Critic” by Judith Schwartz, “A Potters Handbook” by Glenn Nelson and Richard Burkett, and “Hand built Ceramics” from Lark Books. His work has also appeared in “Ceramics Monthly” and “American Craft.”

His work is already held in numerous public collections including the Renwick Gallery at the Smithsonian American Art Museum, the Archie Bray Foundation, the Mint Museum of Craft and Design, the Fredrick R. Weisman Museum in Minneapolis, Minnesota, the Columbus Museum in Columbus, Georgia, the Crocker Art Museum in Sacramento, California, and many others. He’s won awards at the Centennial Celebration at the University of Kansas and the San Angelo Ceramic National in Texas, in addition to various other accolades in institutions across the country. 

He has also curated exhibitions of ceramics and has lectured at UCLA, the Anderson Ranch Arts Center, Columbus State University and the California Conference for the Advancement for the Ceramic Arts. 

Stephanie Wilde (American, 1952)

Over four decades Wilde has created works of art that tell stories of our shared humanity, individual dignity, and the imperiled environment. In creating series on such themes, Wilde is a seeker of rarefied moments in which the visual arts transfigure facts, figures, and political rhetoric, making of them universal statements that appeal to the senses, emotion, and logic. 

Her approach to each project is painstakingly methodical, starting with research supported by scientific, historical, and literary sources, while relying on symbolism and historical context to inform a complex narrative. Wilde’s technique, incorporates ink, acrylic and gold leaf in a combination of both painting and drawing. 

Wilde’s most recent project started in 2022 (Treachery of the Common) inspired by Tragedy of the Common as essay published in 1833 by William Forster Lloyd and readdress by ecologist Garrett Hardin in 1986. In economic science, the tragedy of the commons is a situation in which individual users, who have open access to a resource unhampered by shared social structures or formal rules that govern access and use, act independently according to their own self-interest and, contrary to the common good of all users, cause depletion of the resource through their uncoordinated action.

Our environment is in peril, and we have those in power in a debate on climate change and the current disbelief of scientific data, the importance and the reality of this issue in a divided misinformed world.

“What is common to the greatest number gets the least amount of care” Aristotle. No longer is this subject Tragedy of the Common but takes a different and more powerful meaning in a time of crisis. Treachery of the Common, where deception is used to gain wealth from our planets resources  and away from the debate

Wilde has received two Artist in Residency Fellowship at Monte Azul Contemporary Art, Costa Rica in 2023 and 2024. Djerassi Resident Artist program, Woodside, California in 2017, and a Joan Mitchell Foundation Grant, New York for painting in 2015. She has received three Regional Fellowships from the National Endowment of the Arts. 
Her works are in numerous public and private collections including the Library of Congress, Washington, D.C. New York Public Library, New York, Art in Embassy Collection, Port Louis, Mauritius, Victoria and Albert Museum, London, England, Museum of Contemporary Art, Beijing, China, Wonderful International, Los Angeles, California, Willam Louis-Dreyfus Family Foundation, New York, Allan and Penny Katz, Allan Katz Americana, Connecticut.

Andrea Gutierrez (1956)

Andrea has been working with needle, thread, and beads for over two decades. 

She embraces a long tradition of hand work to investigate both contemporary and historical cultural patterns. Beginning in 2020, Andrea produced a series of small pieces describing the isolation of the pandemic using the imagery of single dwellings and familiar objects. This exploration allowed her to address the changing cultural norms and shifts of the pandemic. She examined the growing perception of the now “essential” worker. Persons, who up until the pandemic were often invisible to many, were quickly highlighted for the crucial role they play in keeping society functioning. The transformation from the unseen worker to the essential worker is but one of many shifts driven by a pandemic that altered the lives of everyone. Her piece Food Bank from this series was recently included in the 61st Annual juried Competition at the Masur Museum, Monroe, Louisiana. Juried by Kerry Inman, owner of Inman Gallery in Houston, Texas.    

Her newest series (The Silence Beyond Human Endeavor) of embroidered and beaded pieces of women alone, viewed as faceless figures. - a conversation about the illusions created by social media and the cultural insistence along with the constant evaluation of our worth based on being looked at and being part of another, that can define an existence from birth to death.