March Artists & Colorful Work

This article was originally published in the Davis Enterprise in March, 2018.

Pence Gallery: March artists bring colorful work

By Natalie Nelson

At the Pence Gallery this March, we are hosting three new solo artists, each who plays with color in a distinctly different way. As we start to plan for our Garden Tour on May 6, color is a fitting subject to center on for the beginning of spring.

Joe Kabriel’s exhibit, “Sense of Time and Place,” is on display from March 2 to 25 in our Andresen Gallery. Kabriel’s landscapes, such as “California Dreaming in Yellow and Gold,” are first drafted in pencil on one of his travels through the Santa Monica Mountains, where he lives and works.

Like many Davis residents, he travels largely on a bike, and his scenic views merge a panoramic perspective with heightened color and texture.

Some of his drawings are printed on aluminum plates, which gives them an iridescent sheen — an appearance that he heightens through digital manipulation of color and pattern into a truly unique landscape.


As he writes, he hopes through his views to “rediscover the wonder of nature seen through a child’s eyes … and to ponder the meaning of life with fresh hope.” Like many landscape artists, Kabriel reflects on how capturing nature can be both a space to “explore the personal conversation between the inner and outer landscapes of the world around us.” Kabriel will be present for the public reception from 6 to 9 p.m. Friday, March 9, at the Pence, so please feel free to stop by to see his amazing view of nature.

Much like Kabriel, Davis artist Hannah Klaus Hunter spent a lot of time in her childhood outdoors, “picking up leaves, studying their shapes and colors, their textures and veins, taking pleasure in small details.”

Hunter still loves to collect leaves, which she brings into the studio, to capture the shape, texture and linear qualities of various leaves onto paper. She uses a monoprint process to do this, rolling out a layer of acrylic paint on top of a gelatin-based plate, and then placing leaves on top. After the paper is placed on top, a brayer is used to press the paint onto it.

Some prints are layers of four to five individual print runs, and successful prints are assembled with other versions into an overall larger composition. Sometimes the artist uses natural dyes and pigments to create her prints, which gives her work a natural feel.

To learn her process, plan to attend her Botanical Print & Collage workshop, on Saturday, April 7, from 10 a.m. to 6 p.m. Sign up now at The cost is $105 ($115 non-members) and includes all supplies. Attendees will also create a small accordion-style book with their prints. Hunter’s exhibit, titled “Paper + Leaf,” is on display through April 13, with an opening on Friday, March 9, from 6 to 9 p.m., sponsored by Far Western Anthropological Research Group.

Another related workshop this month is our Ecoprinting session, from 10 a.m. to 4 p.m. Saturday, March 17. Book artist Dorothy Yuki has taught this workshop on using natural dyes and metals to make prints on cloth and other materials for many Bay Area arts organizations, and after Hunter participated in it, we heard so many great compliments that we had to bring it to Davis. The cost is $165 ($175 nonmembers), and artists can register online through

Last but not least, San Francisco artist Nicole Mueller unveils a new installation as part of her “Light Matter” exhibit, on view through April 13. Mueller’s works are both exuberant and complex, with shifting figure-ground relationships, vibrant color and pockets of deep space, creating pathways that weave in and out of her compositions.

Her large works are painted, cut, collaged, arranged and rearranged, resulting in works that exist between chaos and cohesion.

Mueller is the winner of the Glickman McClure Artist Award for 2018. Given to an emerging artist who produces a new body of work for the Pence, the award is donated by Mark M. Glickman and Lanette M. McClure, and includes a generous stipend.

Mueller is primarily a painter and mixed-media artist, but she is stretching into three-dimensions with an installation of suspended colored Plexiglas shapes. This one piece will be installed in the Bill and Nancy Roe glass tower, visible from our D Street entrance. Not daunted by heights, the artist will be installing at the top of a 20-foot scissor lift soon, securing clusters of wires with the colorful forms on them, so that when light passes through, the hues merge and overlap in truly magical ways.

Mueller’s inspiration was a French chapel with stained glass designed by Henri Matisse, and her installation is sure to have a very spiritual presence. As with any piece that is dependent upon natural light, it will constantly be changing, due to the shifting light conditions.

Her Artist Talk, which describes much of her artistic process and the fabrication of this recent installation, is from 1 to 3 p.m. Saturday, March 24. While the event is free, we are asking visitors to RSVP online, at (search Pence Gallery). Mueller will also be present during our public reception on Friday, March 9, from 6 to 9 p.m., so stop by for a glass of wine and to meet the artist.

— Natalie Nelson is executive director and curator of the Pence Gallery; her column is published monthly.

The Healing Power of Art and Nature

This interview is reprinted from McGaw Graphics interview with me, published on January 26th, 2018.

Abstract, Artist Feature, Hannah Klaus Hunter, Nature, Winter Supplement 2018 - January 26, 2018


Artist Hannah Klaus Hunter creates work infused with the colors, textures, and wild, uninhibited compositions found in nature. In addition to natural elements, she frequently incorporates language into her artwork, drawn from being raised by two English professor parents. As a child, Hannah enjoyed spending time in her father’s vegetable garden, where she studied the colors and shapes she found there…elements that would eventually emerge in her artwork. Her brilliant portfolio ranges from printmaking to collage using a range of materials. We spoke with Hannah recently to learn more about her artistic process and inspiration (see interview below):


MG: What medium do you work with?

HKH: I work with a combination of monoprinting, eco printing and collage. I create the prints using the first two techniques and then select pieces of them to incorporate into a collage, using matte medium to adhere the pieces and to give them a translucent coating.

MG: What do you like most about working with this medium?

HKH: I love the spontaneity of all three processes. Monoprinting and eco printing allow for unexpected results; areas that are at once delicate and defined and rather gloriously imperfect. Collage allows me to choose evocative parts of each print and piece them together into a new whole, not unlike a quilt.

MG: What inspires you most?

HKH: My hometown, Davis, CA, is honeycombed with greenbelt paths planted with all manner of trees, shrubs and flowering plants. I spend a lot of time walking the paths around my home and studio, studying the sky, the changing colors of leaves as they bud, leaf out, and finally fall, where, after the first rain, they leave haunting imprints of themselves. There is a pond on the greenbelt populated by Canada geese, wild turkeys, herons and any number of other birds, making the walk not only visually inspiring but filled with bird call, chirrups and honks. The time of dusk in winter is one of the most evocative times to walk. Crows fly overhead, bats begin their nightly flights; all against the stark outline of tree branches and the delicate colors of twilight. I try to bring these impressions back to the studio to distill the essence of them in my work.

MG: What artists inspire you?

HKH: What a difficult question! So many! I’m fortunate to live in a town with many excellent artists whose work I adore: Sara Post, Rebecca Ryland, Stacey Vetter, Diana Jahns, and Linda Clark Johnson. Further out, ecoprinter Lotta Helleberg in Virginia, SF artist, Tracey Adams, and even further out in Australia, botanical artist Leslie Kendall. I have always been inspired by Paul Klee, Mark Rothko, Pierre Bonnard, and Jean-Baptiste-Siméon Chardin, the 18th century French painter. Then in a whole other category, the Indian artists who painted Tantric gouache works and the art of the Amish quilt makers.

MG: What are your hobbies (besides art)?

HKH: Traveling and walking in beautiful places both cultivated and wild. I love botanical gardens and spend a lot of time in the San Francisco Botanical Garden. I enjoy exploring the back streets of San Francisco, discovering odd bits of flotsam for collage, small architectural wonders and hiking up the many hills for the views. I’m a yoga enthusiast and find that whatever is going on, time in our local studio, or on the road, helps to iron out the wrinkles of life. I’m also a passionate reader and enjoy spending the evening reading a good book with real paper and print that I can touch. 



MG: Describe your workspace:

HKH: When I was in college, I wanted to have a carriage house as a studio. I have the closest thing in the modern vernacular; the ample space above our garage. Spacious, with a slanted ceiling, there is a wall of windows looking out to the alley and a beautiful olive tree. As I enter my studio, to one side, I have a wall of books, watercolors, paints, and supplies. On the other side of the door, my inspiration: a wall covered with postcards of artists’ exhibits and artwork catches my eye. I have several tables holding current projects and work between them and a display wall. Finally, the last wall has shelving and storage for current and older work. There’s also more storage underneath the windows (more books!) and small niches with objects that keep me inspired.

MG: How many years have you been an artist?

HKH: 41 years

MG: What jobs have you done besides being an artist?

HKH: I love teaching art and I’m also a trained art therapist. I worked for many years as the pediatric art therapist for UC Davis Children’s Hospital. I’ve also worked for several area hospices, creating art therapy bereavement programs for children and young adults. After retiring from UC Davis, I’ve continued to offer once-a-month workshops at a non-profit that serves cancer patients. Despite the sound of all this, it is fun and very rewarding work. Going further back, I was a restorer of oriental rugs and a short order cook!

MG: If you were not an artist what would you do?

HKH: I’d be a yoga teacher—healing and art, body and mind all combined.

MG: What is your dream project?

HKH: I’d like to do a residency at the Bloedel Reserve in Bainbridge, WA or a similar setting and create a suite of work, which acknowledges climate change while celebrating the exquisite beauty of plants; how moment by moment, they support our life on this planet.

MG: Is there a painting or project that you are especially proud of?

HKH: This past summer, I was commissioned by NYU Langone Medical Center to create a series of monoprint collages for a new cancer center opening on Long Island. Because of my work with cancer patients, this project brought together my love for healing, color, pattern and creating beauty for people who can use it as part of their healing process. It was wonderful.

MG: What is your favorite color?

HKH: Celadon Green

Fall Findings

Botanical Prints at "Davismade" Market


I'm joining "davismade" for a special holiday market! Davis artists Betty Nelsen, Adele Shaw, Cindy Nelson and I will be putting on the holiday cheer with all the trimmings! Our Sunday event is a wonderful and local opportunity to do your holiday shopping while enjoying handcrafted art and conversations with Davis artists.

I've been busy in the studio and I'll be sharing original botanical prints, giclee prints, new notecards, my "Color Me Happy" coloring books and of course, no event is complete without a giveaway and a sale!

If you're in the area, join us for seasonal treats, a mug of hot cider, art & inspiration!

Botanical Printing and Collage Workshop

The November workshop was a great success! We spent a wonderful day selecting leaves from autumn's abundance, creating print after print and covering the floor with paper like so many fallen leaves. In the afternoon, we made book covers out of Sculpey and imprinted those too. By the end of the day, there was a gathering of accordion books, each one a small treasure.

I'm excited by the results, so much so that I'll be offering another Botanical Printing & Collage class Saturday, April 7th at the Pence Gallery in Davis, CA. Stay tuned for details!

Attachment-1 12.41.17 PM.jpeg

2018, A Taste of Things to Come!

I'm spending the winter preparing for the spring, specifically a spring show at the Pence Gallery in March, 2018, entitled: Paper & Leaf. Above: Lowlands 1, Monoprint Collage, 16" x 16," ©2017.

I've completed much of the work and now comes the tough part; preparing them for view: mounting, framing, and the always delicious task of creating titles. I look forward to sharing more work with you as the show comes together.


Text and Image

I was recently asked to write a guest blog post for Ann E. Grasso, a talented East Coast artist and architect. I had a great time reflecting and writing it and wanted to share this repost with all of you.

Because I take classes online, I meet people from various geographical locations that I would never bump into otherwise. Hannah fits this category. While my usual draw is the visual, in the case of Hannah, it was her words, her thoughts, her care, and concern. Therefore, it is interesting to learn from her writing below that her first solo show was titled Text and Image. Text came first. It is my sincere pleasure to know Hannah through her art as well as her words.

Ann Grasso

And now the page is hers.

Text and Image

Text and Image was the title of my first solo show, many years ago. The title conjures a feeling of magic; the alchemy that occurs when words are combined with images. Those 3 words continue to resonate in my art, years later.

You Know Who You Are  @2004, 11” x 14,” Acrylic and colored pencil on paper, private collection

You Know Who You Are @2004, 11” x 14,” Acrylic and colored pencil on paper, private collection

How did I come to add text to image? It’s classic case of nature and nurture.

I went to college in Iowa City, IA, home of the Iowa Writer’s Workshop. Words flew through the air like birds. And my parents were writers; it was natural that text would flow into my work. A bookworm from childhood, I just figured that the best way to approach a piece of paper was as a page of a book.

Gazing Ball , @2004, 11” x 14,” Acrylic and Collage on paper, Collection of University of Iowa Hospitals

Gazing Ball, @2004, 11” x 14,” Acrylic and Collage on paper, Collection of University of Iowa Hospitals

Nonetheless, it took many years to figure out how text and image (painted, drawn or printed) interact and how I can use them in my art to create a tight and powerful piece of work.

When I incorporate text, I’m aware that the words exist as hundreds of drawn lines which combine with the lines of paint or drawing to form a composition.

I love to use foreign language books and because I can’t read Japanese or Hebrew (for example) and I lean more on the linear quality of the letter forms.

I also use my intuition when placing text. There are times when someone sees my work at an exhibit and knows the language that I have used.

More often than not, the meaning of the words harmonizes with the spirit of the artwork.

Another issue that arises when incorporating words is whether or not the words need be readable (especially in English). I’ve gone back and forth on this.

There are times in my work when I obscure the words, turn them upside down and make them difficult to discern. I don’t want them to lead the meaning.

Seeds: New Year , @2017, 7” x 10,” Monoprint collage on paper

Seeds: New Year, @2017, 7” x 10,” Monoprint collage on paper

In my most recent work though, I’m more open to the words being easy to see and read. I’m using a Hindi-English dictionary as well as another dictionary in French.

I can understand some of the French, and that adds additional shades of meaning to the piece.

And although I can give you reasons why I include words in my work and tell you how I use them, what undergirds it all is a kind of joy. When words come together with color, shape and form, I feel whole and complete.

As You Begin , @2017, 12” x 12,” Monoprint collage on panel

As You Begin, @2017, 12” x 12,” Monoprint collage on panel

How about you? How do you use text in your artwork? I’d love to hear from you.

You can find me at, or on Instagram: @hkhunterarts.

In Spite Of, @2006, 12” x 12,” Collage on panel, private collection

Inspiration, Influence and Confluence

Recently I’ve thought about the line between inspiration and influence and when influence can become confluence in art. I wanted to break it down even further so I could understand how these elements operate in my own art making practice.

Last week, I had the chance to explore the thread I call “confluence” following a workshop in botanical contact eco printing.

Examples of botanical eco printing on paper

Examples of botanical eco printing on paper

I love the ethereal effects that I see in eco printing and wanted to see if I could use plant pigments in my own monoprints.

The workshop, led by artist Lotta Helleberg, was challenging and absorbing. Each day we explored the subtle combinations that plants and mordants (fixatives) can create. I tried to keep the various equations in neat columns in my mind’s eye.

My best work came when I threw up my hands and stuck to the basics.

Infinity scarf printed with prunus leaves on silk/wool blend

Infinity scarf printed with prunus leaves on silk/wool blend

The question of inspiration, influence and confluence only truly emerged back in my studio. I work with plant materials, acrylic paints and a gel plate to create botanical monoprints. I wanted to carry over the watery influence of the eco dye baths; the way plants emboss themselves into the paper and leave tangible marks of their presence. I figured this would be easy.

After several printing sessions, I ended up with prints that were neither eco nor mono but a muddle.

Eco prints and monoprints converging

Eco prints and monoprints converging

“What’s going on?” I wondered. “I know how to do this.” I was confused until I received an email from another student. She mentioned how stuck she was following the workshop.

The metaphor of two rivers joining rushed into my mind. When one river joins together with another, it’s called a confluence.

Many things happen when two or three volumes of water with different temperatures, speed and density merge. It’s a messy affair.

The same thing happens when we take part in classes or workshops. The nature of a workshop is immersion; in technique, artwork and the work of other artists. That’s confluence. Once back home, it’s confusing. What’s us? What’s not ours? What marks, patterns or colors looked good but may or may not belong in our work?

Like two rivers converging, it takes time for new material to settle, to allow our unique voice to emerge, hopefully all the stronger for joining with others.

After all, when the Yangtze River absorbs the water from the Jialing, it becomes more powerful and runs for thousands of miles until it meets the South China Sea.

How about you? What’s your experience of confluence in your work?



Spring: Wide Open

Spring has come again to my corner of the world. Each bush, plant and tree bursts forth in shades of lilac and pale gold so quickly, it stops me in my tracks. The weeks of winter, all the days of waiting give way to wonder.

Seeing Light, 12" x 12," Monoprint Collage with Walnut Ink

Seeing Light, 12" x 12," Monoprint Collage with Walnut Ink

I can't keep up with it! The jasmine over our back gate opens, showering its fragrance on passers by.

The jasmine's abundance is infectious. Up in the studio, my pieced collages grow apace. Tender new leaves tempt me on on my walks. I gather handfuls of leaves and carry them, like gifts, up to the studio.

Last fall, I started a bucket of walnut ink last fall and this week, I called it ready and poured rich, inky liquid into half pint jars, lining them up to admire their contents.

I'm brushing the ink on some of my paper squares before I print and I like the subtle undertones it adds to the work. I'm curious to see how it affects the direction of new prints and I'll share more as they emerge. In the meantime, I wish you much delight as spring unfolds, wherever you are.

Squares with walnut ink, ready for printing with eucalyptus leaves.

Squares with walnut ink, ready for printing with eucalyptus leaves.

Days of Gratitude


It was a weekend of gratitude. There was much baking and chopping, talking and walking in the midst of this delicious weekend, which heralds the beginning of the holiday season. And it's not over yet. I've still got two tubs of persimmon pulp in the frig just waiting to turn into fragrant loaves of bread.

As I follow the string of days, deeper into the darkness of winter, I imagine all the people I know, all of the people who support and encourage me in my art like many tiny flames, lighting the way.

I'm grateful to all of you who have taken the time to write to me about my work, and to those of who've come up to the studio and said, "keep going." I'm tickled and delighted when you come to open studios and exhibits and perhaps decide to take art home with you. And classes--well--I learn as much as you do. You all stretch me way beyond where I think I can go.

However and whenever you choose to mark this season, may it be filled with people you love, time to see or make art, and a good helping of inner wisdom for these times.


Look for my work in several venues this holiday season:

The Southern Gallery in Charleston, SC is hosting a show called 99 Problems, (But a Print Ain't One.) You can check out the entire show in their shop and I've linked to my work here

Closer to home, The Sparrow Gallery will be hosting their holiday show beginning in early December and I will have several of my favorite botanical pieces there for you to visit.


Join Linda Clark Johnson, Leslie Colby, Allison Spreadborough and I at a collaborative pop-up holiday shop at Linda's home studio.

Sunday, December 18th from 1 pm - 5 pm.
2379 39th Street, Sacramento

There will be lots to choose from: prints (great sale prices!), a new selection of cards, and my coloring books too. Come join us for an afternoon of hot cider, and art.

Summer Camp Days Ahead

facebook post_art campThese hot June days take me back through the years to the days of summer camp. My first experience was a YWCA camp on the shores of a Michigan lake. It was all foreign to me; morning reveille, raising the flag and evenings by the campfire, singing songs whose words even now come to mind. Most of all I remember the sensation of walking through woods, the paths banked by ferns with tiny  pine cones crunching under my feet. And the dark, cool inside of the craft cabin, where any imaginable project might rise from the sturdy wooden tables.

In the last several years, there has been a resurgence of summer camps for adults. It's a great idea and our local art center offers day camps for adults. So why not a day camp for cancer patients and their caregivers? Of course!

I've created a 3 day, 2 hours per day Art Camp for Wellness Within, an organization serving cancer patients, their families and caregivers located in Roseville, CA

ARt camp

We will make art that stretches the boundaries of what we think we are capable of, that heals our spirits, and provides a respite from the woes of cancer.

Of course there will be snacks and laughs and lemonade and maybe a little kombucha too. If you know someone in the area who might benefit from this program, please tell them about it. There is no fee for these programs.


Bridging the Gap

I've been tucked into my studio for the last couple months, drawing jade plants, diverse succulents, taking notes and obsessively printing gelli prints. I’ve filled a notebook, and in the process, found a rhythm and perhaps some answers to a problem I've been trying to solve.

For the past couple of years, I've worked on a series called Shift, in which I explored my ecological niche of Davis. As the series progressed, I became more interested in the unusual shapes of plants I found visiting various botanical gardens. I began another series of collage works I called Botanical Dreams, inspired by the 30 paintings in 30 days  challenge presented by Leslie Saeta.

I’ve wanted to continue this series and I wanted to wed the monoprints of Shift with the collage, but after several months of trials and lots of recycled prints, I think I’m trying to make an arranged marriage. Shift needs to be one series and Botanical Dreams another.

As I write this, I realize that actually, I'm the bridge. I think that it's hard to leave the safety of a known series and decamp to another largely unknown territory, but the connection lies simply in my own two hands.

Poppies, Lupines and Printmaking Too!

MOO7 Many years ago in graduate school, I was introduced to a form of printmaking called monoprinting, or sometimes, monotype. I'm a person not well suited to the long and meticulous craft of printmaking. But I did so love the notion of placing paper onto plate, applying pressure and seeing the creation of a whole new piece. It appeals to the alchemist in me.

Through the years I've experimented with different kinds of plates: glass, plexiglass, even the plastic surfaces of cutting boards, but I couldn't find a decent, printable surface that worked without the aid of a press. Then, one day several years ago, I visited an open studio event of a friend. She gave me a tour, and there, in one of the other artist's spaces, it's colorful package glinting in the sun, was a gelli plate.

As I touched its soft yielding surface (much like a batch of jello), I considered the possibilities. My friend offered to show me how it worked and we had several weekend workshops including other interested artists. I was hooked. Now several years and a number of plates later, I'm still experimenting, trying to push the limits of what the plate can do.


Next month, I'll be teaching a gelli printing workshop at our local Pence Gallery: Saturday, May 14 from 10- 3. There are still a few spots left, so whether you're new to gelli printing, or you'd like to stretch your printmaking  boundaries, I'd love to have you. I'm super excited about the planning--and look forward to sharing what I've learned about the simple beauty of this process.

Gelli Printing Workshop_flyer


"Be Happy and Color!" Goes Live

IMG_5734(1)I was standing in front of my art cart about a year ago at the UC Davis Children's Hospital, looking over my supplies, organizing them for the day, when a nurse came through the door and began riffling through the coloring  books on an adjoining cart. "Do you have anything for a three year old?," she asked. "That's a good question," I thought as I too flipped through the stack of donated coloring books. I saw Spider Man and his assorted cohorts, but nothing that would really be appropriate to a 3 year old's developmental needs. As I walked back to my office, I thought that we could really use a book with healthy images that connects children to the natural world without the inclusion of violence.

When I got back to my office a bit later, I logged on to my email and found a new  note from a person that I didn't know, Pauline Molinari, a book editor, asking me if I would be interested in writing the text for a coloring book.

Kismet? Ask and ye shall receive? I was delighted that my unspoken question was answered so promptly. I quickly researched Pauline and the publisher for whom she worked, Walter Foster Jr.(an imprint of Quarto books), and picked up the phone.

Thus began a collaboration between myself, the fabulous illustrator, Stephanie Peterson Jones and Pauline. I was fortunate to have free reign over the structure of the book and decided to focus on 4 of the 5 primordial elements: fire, air, earth and water. (I didn't include ether because, well, you get the picture.)


Over the next several months, we mapped out spreads, I created prompts and Stephanie's illustrations unfolded in response.  All the while, I began to see more and more coloring pages emerge on artists' and art therapist's sites. I was excited and after the last prompt was done, the last quotation cited, the last drawing approved, I couldn't wait to hold the book in my hands.

But I did-- until last Friday, when I arrived home from an opening to find a package with the publisher's return address on the label. There, packed neatly, was the quotient of copies promised to me; crisp and ready for crayon wielding fingers.

I'm very pleased with the results and can't wait to share the book with my family and friends.  If you'd like your own free copy of Be Happy and Color, leave me a comment at the end of the post. I'll put all the names in my husband's Irish cap and draw one. (And I promise to draw blind.) That fortunate person will receive a package full of inspiration and coloring bliss.