The physical properties of the materials Santa Rosa artist Jenny Honnert Abell employs, and the meticulous process of re-interpreting their meaning by altering their physical context fascinate her. While possessing a seeming obsession with matter, Abell's art also assembles myriad expressions, often with a whimsical, other times sinister, wit. Referencing the Surrealist masters, Abell transforms the recognizable (fingers, eyes, birds) into new incarnations with often surprising and provocative results.

San Francisco artist Marya Krogstad's body of work is diverse, including mixed media sculptures, architectural installations, drawing, photographs, and a "self-help" painting series. This exhibit builds upon notions of identity, a cultural "third space" informed by her own experience as an transracially adopted child, born in Korea and raised in Northern California.

Early in his artistic career, while still a student at Cranbrook Academy of Art in Michigan, Thomas Morphis learned to freely associate with many creative forms and techniques, including ceramics and architecture. Morphis's response to varied stimuli continues, reflected in his densely textural work. Recently, and in part due to extensive experimentation with layering resin, Morphis's work has materialized into multi-layered collages, often incorporating figural drawing, technical renderings, newspaper clippings and other inspirations.

The additional dimension of layering heightens the relevancy of Morphis's juxtapositions, which much like the human mind, build retained experiences into a complex memory structure. Like memory, some of Morphis's visual references are readily identifiable while others exist in a sub-conscious realm which suggest associations and recollections unique to, yet shared by, both artist and viewer.