Region 4 – San Francisco Bay Area

VAL SERRANT ~ DRUM CLASS Back to the Arts In Corrections, California Arts Council region index

Ned Axthelm

ned axthelm

Between Places
oil on canvas
22.5″ x 30″

ned axthelm

Stand Down
oil on canvas
33″ x 26″

ned axthelm

Western Bus Homebound
oil on panel
26.75″ x 28.5″
ned axthelm

Sunrise Commute
oil on canvas
16″ x 20″

Kurt Huget

“Mississippi Sunset And A Louisiana Moon”

Zoe Mullery

Excerpt from Paint It Black

Excerpt: “Why you even answer the door then?” Topher said, hitting the doorjamb with the heel of his hand.

The word fuck was not in that sentence, but he managed to make it sound like it was. Topher now had his pissed-off face on. He had reduced his human interactions to about four modes: pissed off, pleading, triumphant, and sarcastic happy. His long shorts flapped loose on him, the pink prosthetic shins and ankles mud-splattered and the plastic feet stuck into dirty tennis shoes.

“Look, Topher, I don’t wanna give you money today. You smell like puke. If you want some food, I’ll make you lunch.”

“Vegetarian crap. You think I can live on Thai food? I gotta have some protein. Protein costs money.” Topher was already looking up and down the block, searching for someone else to hit up. Nina could smell the desperation emanating through his scraggly red beard.

“Topher. Not today.” Nina didn’t like the schoolmarmy tone she heard herself using. She started to lean back inside the door. Her sweet little brother had once made her a log cabin by gluing together a bunch of their dad’s Cuban cigars, when he was about five or six. He had not even been punished because of the famously irresistable Toph grin.

“Yeah, well, that’s easy for you, you always got enough to eat, a warm place to sleep, people to cry on their shoulder. What’s five or ten bucks to you? You won’t even notice it. For me, it’s survival for another day.”

Nina wondered if ten bucks towards Topher’s habit might not save someone’s car window or stereo, but she didn’t want to be blackmailed. Topher growled like a terrier and loped off down the wet sidewalk. The complex action of the ankle joints shifted, turned, and bore his weight as he disappeared around the corner.

Sam Tubiolo

Transitions – Hazel Avenue Light Rail Station, Gold River, CA Medium: ceramic, concrete, stone and landscaping Dimensions: 6.5″h x 100’w x 40’d

Valle Grande and Jemez River – Los Alamos County Municipal Building, 1000 Central Ave., Los Alamos, NM Medium: ceramic tile bas-relief Dimensions: 113” (9’8”) h x 101” (17’9”) w

Protecting the Community – Main facade, Fire Station 20, Sacramento, CA. Medium: ceramic tile Dimensions: 6.5’h x 86’w x 2″d

Val Serrant


Margo Perin


Entropy (excerpted below) in “Fightin’ Words” (Heyday/PEN, 2014)

The classroom glares like a radiation chamber
Rectangular funnels of light ricocheting off walls of concrete and steel
Between more concrete and steel
The stratosphere of San Francisco County Jail

I stand in front of the chalkboard
Littered with broken psalms, gang emblems
I’m there to teach writing, to turn the classroom into a lighthouse
To show how a pencil can be used as a laser beam
To illuminate the scars of those thrashing about in the waters

Incarceration is being caught in shark’s teeth
Three rows pointing inward
One falls out, a lawyer fucks up
No time off for time served, no possibility of parole
Another tooth pulling each one of the men closer to the throat
Closer to being swallowed up
Our society’s disappeared

I tell my students to think of their confinement
As a writing retreat, all expenses paid
While I go to jail armed with three dots and a jot
To dig into where I am not


Carol Newborg,h_1214,al_c,q_90,usm_0.66_1.00_0.01/0571c7_c3d76737654d48d899463977f5fec36d.jpg

Katya McCulloch

KatyaEdge of Wilderness KatyaPermeable Form KatyaTanami Sky

Patrick Maloney

Ducks at Play

Splish Splash


Richard Broadhurst


A simple park bench sits center stage. There is a trash can upstage left. Downstage right is an old (drinking) water fountain.

RANDALL BAKER is seated in the center of the bench. Randall is a man in his early 70s, but looks younger. He has his head tilted back and is soaking up a mid-afternoon sun–eyes closed. Randall is wearing a jogger’s jump suit.

MAX KURTZ (also in his 70s) enters. Max is dressed simply. He carries a brown paper bag in one hand and has a small multi-colored throw pillow tucked under his arm. When Maxsees Randall on the bench he stops. He studies Randall for a long time…

Dunya Alwan



“Poopala” & “I’d rather feel rubber.”  Pair of billboards designed using video taped role plays and then hand painted.  Painters:  Sisters In Transition (a group of women getting out of the Massachusetts Correctional Institute for Women at Framingham in Massachusetts), D. ‘Alwan and the Buffalo Gals.  Installed in Roxbury, MA. 1992

Sonia Wallach

Wallach - Tattoo Expo

Tattoo Expo, acrylic and gold leaf on canvas, 24″ by 18″

Wallach - Vanity Drawer

Vanity Drawer, acrylic and gold leaf on salvage wood, 11″ by 16″

Wallach - Edgar

Edgar, stained glass with enamel, 2’5″ by 4’5″

Wallach - Smoker

Smoker, screen print ink on paper, 14″ by 16″


Amy Ho


Triangle IV (Earlville)
Single channel video projection
Dimensions variable
Triangle IV (Earlville) imagines a projected diagonal extension to the existing gallery space. The work questions the permanence and immutability of architecture. The projected image is a photograph of a miniature architectural space.


Digital print on vinyl
323” x 140”
Spiral is a large format print installed in the atrium of a stairwell. The image is a photograph of a miniature staircase created by the artist. The viewer’s perspective of the image changes as he or she moves from the first floor to the second floor.


Recede V
Latex paint on wood
96″ x 120″ x 48″
Much of my work involves building and photographing miniature architectural models. Although the actual models are never shown as artworks, they play an important part in the process of making my projection installations. The work Recede V is a life-sized recreation of what was originally a miniature architectural model. Recede V uses layered frames to transform our perception of space and creates an illusion of a larger space.


Up/Down II
Two channel video projection
Dimensions variable
The work Up/Down II explores our understanding and experience of architecture and space through imagination. The images are stills of miniature model staircases constructed by the artist. Even if we cannot enter the images, we still can imagine ourselves entering the projected space and walking up and down the stairs.


Gaping Interlude
Single channel video projection
Dimensions variable
Gaping Interlude is a site-specific projection installation. The work imagines the gallery space, including the cement floor, extending into the imaginary projected image. The cutout in the projected space creates a void that stands in contrast to the materiality of the architecture.


Julien Poirier


Four square monks drive a Coupe de Ville
Through the vale, over the hill

To get to where the savings are,
They square their shoulders and point the car

They bang their heads when the radio blares
That song about the lady who bought the stairs


With all this free time
I was going to write a novel
about a middle-aged man
whose idealism had gotten
infiltrated—in the same way
that Sharia law
is infiltrating
the civic body of Michigan—
by hysterical anxiety
over his kids’ safety


I went to the second-hand store
to pick up some second-hand smoke
but the smoke got in my third eye
on the 4th of July
while I drank a fifth of rye
to myself for the sixth
time since my seventh

Ania Mieszkowska