Interview with Jennifer Bain — Contemporary Art Curator Magazine

Jennifer Bain is a painter whose work intertwines themes of spirituality and nature, exploring their connections to contemporary art. Her journey into the spiritual dimensions of art began at The Rudolf Steiner School in New York City, where education is deeply rooted in the arts and mystic ideologies.

Initially pursuing a balance of creativity and practicality, Jennifer earned an A.A. degree in Fashion Design and enjoyed a successful career in that field. However, she ultimately sought deeper creative fulfillment, leading her to obtain a B.F.A. from the California College of the Arts in 1982 and an M.F.A. in painting from the San Francisco Art Institute in 1985.

Following graduate school, Jennifer spent a decade as a startup studio artist while also working at Levi Strauss & Co. as a design assistant in the men's shirt division, teaching aerobic dance, and engaging in her painting practice. During this phase, she lived communally in an old paint factory, surrounded by a vibrant community of artists, musicians, dancers, playwrights, and street performers. Since 1994, she has dedicated herself to her art full-time, creating work in series that may span five to ten years and utilizing a variety of painting styles that range from abstract to narrative.

Her artwork has been showcased in esteemed contemporary galleries across the United States, Asia, and the Middle East, and it resides in both private and corporate collections, as well as healing environments such as The Mayo Clinic, Kaiser Permanente, Sutter Health, UCLA, San Francisco General, and Stanford University Hospitals. In 2005 and 2009, she had the honor of representing American art in the U.S. Department of State's Art in Embassies program.

After spending thirty-seven years in Oakland, California, Jennifer moved to Santa Fe, New Mexico, in 2016 after the passing of her husband from cancer. She is flourishing in her new surroundings, accompanied by two small dogs, a big cat, and a wonderful studio.

EDUCATION

1985 San Francisco Art Institute - M.F.A. (with honors)
1982 California College of the Arts - B.F.A. (with distinction)

SOLO EXHIBITIONS

2025 Bridget Mayer Gallery – Vault Exhibition – Philadelphia PA.
2021 Michael Warren Contemporary, Denver, CO - Mapping Shapes
2018 Michael Warren Contemporary, Denver, CO - Palimpsest of Time and Place,
2017 Skidmore Contemporary, Santa Monica, CA.- Palimpsest of Time and Place
2015 Michael Warren Contemporary, Denver, CO - Material Theory
2014 50 Beale Street Gallery, San Francisco, CA. - Petals, Stems, Leaves and Time
2012 Skidmore Contemporary, Santa Monica, CA. - Bits & Pieces 333 Bush Street, San Francisco,
CA
2011 Gallery One Nashville, TN. - Bloom
450 Sansome Street Gallery, San Francisco, CA - Linked Narratives
45 Fremont Street Gallery – San Francisco, CA. - Observations in the Flowering Stage
Revisited
2010 Skidmore Contemporary. Santa Monica, CA. - A Cultivated State
2008 G2 Gallery - Scottsdale, AZ. - Linked Narratives
455 Gallery, San Francisco, CA. -Rhythm & Resonance
Gallery One – Nashville, TN. - Passages
2007 Anne Reed Gallery, Ketchum, Idaho – The Nature of Perception
Elins Eagles-Smith Gallery, San Francisco, CA - Observations in the Flowering Stage (part 2)
2006 Kathryn Markel Fine Arts New York, N.Y. Observations in the Flowering Stage
2004 Elins Eagles-Smith Gallery, San Francisco, CA - The Poetry of Nature (part1)
Kathryn Markel Fine Arts, New York, N.Y. - The Poetry of Nature (part 2)
2003 Erickson Gallery, Healdsburg, CA Parallels
2002 Dominican University of California San Marco Gallery, San Rafael, CA
2001 Oakland Museum of California Latham Square, Oakland, CA - Revelations
Erickson & Elins Gallery, San Francisco, CA - Sanctuary
1999 Erickson & Elins Gallery, San Francisco, CA - Undercurrents
Napa City Library, Napa, CA
1997 Erickson & Elins Gallery, San Francisco, CA
1994 Erickson & Elins Gallery, San Francisco, CA
Joan Roebuck Gallery, Lafayette, CA
1991 San Francisco Museum of Modern Art Artist’s Gallery, San Francisco, CA

SELECTED GROUP EXHIBITION

2024 Grey Loft Gallery - Exquisite Little Things – Oakland, CA.
O’Hanlon Center for the Arts – Women Artists Making Their Mark – online exhibition
Michael Warren Contemporary – Tenth Year Exhibition
Floyd Center for the Arts – Earth First – Floyd, VA.
Nicolet College Art Gallery – Northern National Art Competition – Rhinelander, WI
Skidmore Contemporary – Gallery Artists – Palm Desert, CA.
Gallerium Art Art Exhibitions – Animals of the Planet – online and publication
Gallery 4%, San Francisco, CA. Floral and Botanical
Viridian Artists Inc. Gallery, New York, N.Y. – Un-trashed
Rountree Gallery, Platteville, WI – Teeny, Tiny, Bold
2023 Leigh Yawkey Woodson Art Museum, Wausau, WI.
San Fernando Valley Arts & Culture Center Encino CA. - Call of the Wild
Viridian Artists Inc. Gallery, New York, N.Y. Art from Detritus
ArtShow International Gallery, Los Angeles, CA. “Animal” https://www.artshowinternational.com
- online
Gallerium Art Exhibitions - Shapes and Colors – online and publication
Exhibitzone – True Beauty – online exhibition
2022 Kingdom Animalia - https://www.exhibizone.com/ka2022 - online
2020 Barrett Art Center, Poughkeepsie, N.Y. - New Directions 2020
Dean Lesher Center for the Arts, Walnut Creek CA. - Birds, Nests, Nature
Artworks Center for Contemporary Art, Loveland CO. - Material Identity
Dallas Metro Contemporary Museum, Dallas TX. - 2D National Exhibition
2015 Carnegie Art Museum, Oxnard, CA - Subjective Truths in Contemporary Realism
Village Theater, Danville. CA - Float, Flutter, Fly
Dean Lesher Center for the Arts, Walnut Creek, CA - Botanica: All Things Plant Life
2014 John Michael Kohler Arts Center, Sheboygan, WI. - One & Only:
Petaluma Arts Center, Petaluma, CA (n) collage: a mixed media exhibition (n) = ”new”
Michael Warren Contemporary – Denver, CO
Gray Loft Gallery – Oakland, CA. - Flora and Form
Skidmore Contemporary – Santa Monica, CA - Degrees of Abstraction
2012 Lesher Center for the Arts, Walnut Creek, CA - Captured: Specimens in Contemporary Art
Alycia Duckler Gallery, Portland, OR - Affordable Art Fair Seattle
2011 Elins Eagles- Smith Gallery, San Francisco, CA - Country / City
Sylvia White Gallery, Ventura , CA. - Summer Show
City of Los Angeles Department of Cultural Affairs / LAX Terminal 1,- Earth & Sky
2010 Skidmore Contemporary, Santa Monica, CA – Pop realism
Elins Eagles-Smith Gallery, San Francisco, CA - Small Treasures
2009 Lisa Kurts Gallery, Memphis, TN
Sylvia White Gallery, Ventura, CA. - Thirty Year Anniversary Exhibition
Elins Eagles-Smith Gallery, San Francisco, CA
Booksmart Studio Gallery, Rochester, N.Y. - Alternative Digital Printing
2008 SoMArts Cultural Center, San Francisco, CA. Visual Aid Big Deal
2007 Lisa Kurts Gallery, Memphis, TN - Holiday Group Show
Jules Place Gallery, Boston MA.
Chautauqua Institution, Chautauqua, N.Y. - Common Ground
Chase Gallery, Boston, MA. - Winter Group Show -
2006 Anne Reed Gallery, Ketchum, ID - Retrospective / Prospective
SFMOMA Artist’s Gallery, San Francisco, CA. - Our Planet, Our Home
Alysia Duckler Gallery, Portland, OR
Falkirk Cultural Center, San Rafael, CA - Alone in Nature: Jennifer Bain, Shelley Gardner &
June Yokell
2004 Dean Lesher Regional Center for the Arts, Walnut Creek, CA - Essence of Nature
Mendocino Art Center, Mendocino, CA. CCA SEE – California College of the Arts Alumni -
Addison Parks Gallery, Santa Fe, NM
2003 Lisa Kurts Gallery, Memphis, TN
Susan Street Fine Art, Solano Beach, CA - Landscapes Real and Imagined
CCA Alumni Council, Fort Bragg, CA - Landscapes, Seascapes, Vantage Points
2002 Ruth Bachofner Gallery, Santa Monica, CA
Butler Institute of American Art, Youngstown, OH
Sonoma Museum of Visual Art, Santa Rosa, CA - The Art of Collecting
2001 Susan Street Gallery, Solano Beach, CA
Arco Center, Los Angeles, CA
2000 Marin Technologies, San Rafael, CA - C.C.A.C. Alumni Series 4:101 North
1999 Kala Art Institute, Berkeley, CA
Alexandria Museum of Art, Alexandria, LA
Visual Arts Center, Boise State University, Boise, ID - Language of Abstraction
1998 Crocker Art Museum, Sacramento, CA - Crocker Kingsley Exhibition
1996 Sylvia White Contemporary, Los Angeles, CA - The Horse Show: Images of the Horse in
Contemporary Art
Modesto Jr. College, Modesto, CA - From the Painter's Hand
1995 Chuck Levitan Gallery, New York, NY
Alexandria Museum of Art, Alexandria, LA
1994 Butler Institute of American Art, Youngstown, OH
1993 Berkeley Art Center, Berkeley, CA - Ninth National Exhibition
Gallery Ten, Rockford, ILL - Botanics
1992 Dutchess County Art Association, Poughkeepsie, NY - New Directions '92
Beaverton Arts Commission, Beaverton, OR - Showcase "92
1990 San Francisco Craft & Folk Art Museum, San Francisco, CA - The Book as Metaphor for Art
The California Craft Museum, San Francisco, CA - The Book as Metaphor for Art

ART AUCTIONS / BENEFITS

2024 Bridget Mayer Gallery Pittsburg PA. - Converge
Morgan Adams Foundation for Children with Cancer – ArtMa – Denver Design Center
Albuquerque Museum of Art - Artsthrive
2023 Albuquerque Museum of Art - Artsthrive
Site Santa Fe – Santa Fe Artist’s Medical Fund Show
2022 Site Santa Fe – Santa Fe Artist’s Medical Fund Show

ART FAIRS

2023 Red Dot Miami – Jenn Tough Gallery
Arts San Diego
2014 ArtMRKT - San Francisco, CA - Skidmore Contemporary
2010 ArtMRKT - San Francisco, CA. – Elins Eagles – Smith Gallery

AWARDS & PROFESSIONAL EXPERIENCE

2024 Bridget Mayer Gallery - 1st place award - solo show / juror
Santa Fe Gallery Association - unanimously juried into the 2023 Artist Catalog.
2023 New Mexico Only Purchase Initiative Selection
2023 Santa Fe Gallery Association - unanimously juried into the 2023 Artist Catalog.
2016 City of Walnut Creek, CA. Utility Box Wrap Project
2015 San Francisco Art Commission S.F. General Hospital Collection, City and County of San
Francisco, CA.
2011 San Francisco Art Commission Laguna Honda Collection, City and County of San Francisco,
CA.
2010 Walnut Creek Public Library, Walnut Creek, CA.
2009 Art in Embassies Program - United States Department of State Embassy, Ragoon, Myanmar
2007 Art in Embassies Program – United States Department of State Embassy, Yaounde, Cameroon
2005 Visiting Artist lecture Series – The Oxbow School - Copia Auditorium, Napa, CA.
2002 Guest Artist Lecture – Dominican University of San Rafael, San Rafael, CA.
1999 Artist in Residence - Kala Art Institute, Berkeley, CA.
1984 Art in Public Places Purchase - Washington State Arts Commission
1982 National Endowment for the Arts - Solo Show Award: - Fiberworks Gallery, Berkeley, CA.

BIBLIOGRAPHY

2024 Novum Artis Magazine volume 005&006
AATONAU – interview – publication - https://aatonau.com
2023 Dab Art Quarterly – summer 2023 – Art & Interview
Birds in Art Exhibition catalogue – Leigh Yawkey Woodson Art Museum
Contemporary Artist Magazine – Artists Collective Jenn Tough Gallery Santa Fe NM
2020 Art Guide Magazine Artist’s Directory volume 3 - interview
South West Contemporary - Field Guide “Featured New Mexico Artists”
2012 Studio Visit Magazine – Open Studios Press, Boston, MA.
2010 International Contemporary Artist’s – I.C.A. Publishers, N.Y.N.Y.
United States Embassy Rangoon, Burma - catalogue
2009 Kenneth Baker – San Francisco Chronicle 4-19-09 - “ Cheap Thrill”
2008 Jack Silverman – The Nashville Scene 10-08 – “Passages at Gallery One”
2007 Anthony Bannon - The Chautauqua Daily 8-14-07 - “ Pleasure of Perception”
Frank Cebulski – ARTWEEK 2-07 – ‘Our Planet, Our Home’ at SFMOMA Artists Gallery
2006 Debra Koppman - ARTWEEK 9-06 – ‘Alone in Nature’
2005 ART IN EMBASSIES PROGRAM – UNITED STATES EMBASSY YAOUNDE’- catalogue
2004 Robert Taylor – CONTRA COSTA TIMES 7 -16 Learn about art through the eyes of seven artists
Dave Weinstein – DIABLO ARTS MAGAZINE July – September 2004 - Natural Wonders
1999 17th September Exhibition Interactive Exhibition Catalogue – Alexandria Museum of Art
Chris Schnoor – ARTWEEK 4-99 - “Language of Abstraction” - Boise State University
Steven Jenkins - ARTWEEK 5-99 - “Jennifer Bain – Undercurrents”
1998 Interiors Magazine - April 1998 - Sony West Coast Design Center
1997 New American Painting 1997 - The Open Studios Press, Wellesley, MA.
1994 Randal Davis - ARTWEEK 8-4-94 - "SFADA Introductions '94
Art of California Magazine - Discovery Awards - Silver
14th Annual Exhibition Catalogue - Alexandria Museum of Art
58th National Midyear Exhibition Catalogue - Butler Institute of American Art
Contra Costa Sun 12-29-93" – “Area Painters Featured in New Years Show"

PARTIAL SELECTED PUBLIC COLLECTIONS

UC DAVIS HEALTH SYSTEM ART COLLECTION
BALBOA BAY CLUB HOTEL
ZUCKERBERG SAN FRANCISCO GENERAL HOSPITAL
MARRIOTT DESERT RIDGE RESORT
UCLA WOMEN’S IMAGING CENTER
HOUSTON INTERCONTINENTAL HOTEL
STANFORD UNIVERSITY HOSPITAL
TELLEM & ASSOCIATES
OAKLAND CHILDREN’S HOSPTIAL
SILICON VALLEY BANK
SUTTER HEALTH HOSPITAL
USAA FEDERAL SAVINGS BANK
MAYO FOUNDATION
SUN MICROSYSTEMS
CITIBANK
BRIO TECHNOLOGIES
OREGON HEALTH & SCIENCE UNIVERSITY
TiVo INC.
GRAND HYATT
BELKNAP & PURCELL - San Francisco, CA.
HOTEL CONRAD
WORLD VIEW TECHNOLOGY PARTNERS
HARAH’S TAHOE RESORT
PACIFIC FOREST RESOURCES
WINNIE PALMER HOSPITAL
DELIOTTE & TOUCHE
KAISER PERMANENTE
ETAN INDUSTRIES
THE CARLYLE HOTEL
SECURITY PACIFIC BANK
YIXING GARDEN HOTEL
NORDSTROM’S INC.
RITZ CARLTON HOTEL
SONY INC.
CAPITAL ONE
J.P. MORGAN COMPANY
ABOBE SYSTEMS
MERRILL LYNCH INC.
AMERICAN EXPRESS
HELM FINANCIAL CORP
MARKEL CORP
HOTEL BEL AIR
MASTERCARD
SUN CHASE INTERNATIONAL HONG KONG
PFIZER INC.
S.A.P. TECHNOLOGIES
HALLMARK
TiVo INC.
STATE STREET BANK OF BOSTON
WELLS FARGO
LOS ANGELES CEDAR SINAI HOSPITAL
PENNINSULA PALACE HOTEL – Beijing, China
VISA USA
NOKIA
DALLAS ARBORETUM
PACIFIC PALMS CONFERENCE RESORT
PRUDENTIAL
CA BANK & TRUST
HILTON
WESTIN HOTEL - Macau, China
e-Bay.

Jennifer, your artistic journey has traversed a variety of life experiences and geographic landscapes, from a childhood influenced by Rudolph Steiner's anthroposophy to the traumatic encounter with Legionnaires’ disease. How do these diverse elements of your past manifest in your current artistic practice, particularly in your choice to integrate both abstraction and realism in your work?

During my childhood education, I was introduced to nontraditional concepts of perceiving the world, highlighting the existence of elements beyond ourselves. These abstract notions laid the groundwork for fostering curiosity, wide-ranging thinking, and a mindset open to observing and questioning. A life-threatening bout with Legionnaires' disease led to a 21-day stay in a hospital's intensive care unit. I drifted in and out of consciousness, experiencing an altered reality where time seemed suspended, and I was unaware of the present—a journey to a distant realm. During recovery, this pivotal experience gradually transformed my understanding of existence or "being," prompting a change in my life's path. I uprooted my old life, embraced a new beginning, and, in essence, was given a second chance.

The bird imagery in your paintings serves as a potent symbol bridging the tangible and the spiritual. Could you delve into how your personal experiences and the broader historical and cultural significances of birds influence the narrative constructed in your series?

Birds fly and, by doing so, achieve the impossible for us humans. I have been practicing meditation off and on for over 30 years, and over this span, this notion of flight has become analogous to experiences in certain states of mind during meditation. I believe humans have experienced alternate states or realities in many manifestations, from mind-altering substances to prayer and meditation, and we often connect this to notions of flight and freedom. Because they fly the skies, birds symbolically bridge the heavens with the earth and represent this connection. They hold awe, power, and symbolize a coming and going unavailable to us—metaphorically and literally.

Having shifted from fashion design to fine arts and moving through various styles and themes over the years, how do you see the evolution of your artistic identity? In what ways does each phase reflect a specific period of your personal or professional life?

I began my journey in fashion design to channel my artistic aspirations while also securing employment. I was fortunate to have the chance to co-design and eventually create a junior sportswear line. However, I often found myself creatively unfulfilled, yearning for an intellectual depth that was missing from my work. Upon returning to art school, I reignited my passion for textiles and structure, exploring these concepts extensively across textile arts, sculpture, and 2D practices.

Throughout my artistic evolution, I frequently revisit these themes in my various series—whether by employing paint to mimic sheer silk, or incorporating patterns like moiré, ikat, stripes, and even floral designs. During the pandemic lockdown, I turned to my sewing machine, crafting soft sculptures that captivated my imagination and helped assuage the collective anxiety we experienced.

My painting phases have drawn inspiration from my garden, which not only provided subject matter but also taught me the importance of closely observing form. Meditation practices have influenced my use of soft focus alongside sharp lines in a significant body of work, while yoga has encouraged my exploration of opposites, dualities, and spontaneous connections. Similarly, my studies in Buddhism and Daoism, particularly concerning the essence of water, have shaped my understanding of human consciousness.

All of my painting series include themes of nature—whether landscapes, botanical elements, floral motifs, or animals such as birds and insects. I have experimented with a variety of compositional styles, from color fields and sequential film-strip layouts to mixed media combinations and geometric arrangements, each informed by my background in design, color, and texture, as well as art history.

My creative process, coupled with my fascination for depicting nature in diverse ways, stems from a desire to set aside value judgments. I believe that reality would be incomplete if confined to conventional ideals, and I embrace the notion that artistic interpretations of nature, from classical to abstract, are open to continuous reinterpretation.

You have lived and worked in various cultural hubs across the United States, and now in Santa Fe. In what ways have these environments influenced your artistic output? How does the artistic community in Santa Fe differ from those in places like San Francisco and New York?

I've spent most of my life in vibrant urban centers at the forefront of culture and contemporary art, but all that changed when I moved to New Mexico. The cultural landscape here is distinctly different, deeply rooted in rich histories and indigenous traditions. It feels as though much of the country is only just beginning to recognize the cultural significance of this area, yet several artists from the Southwest are gaining international acclaim. The visual language here is strikingly unique, almost a departure from my previous experiences. The aesthetics of the region's First Nations profoundly influence its art, creating a fascinating and educational environment. There is so much to explore and discover.

The process of creating art often parallels the artist’s inner life and spiritual journey. With your work often exploring themes of freedom and structure, could you discuss how your own spiritual beliefs and practices have influenced your creative process and artistic decisions?

For me, my second journey in art has been a true gift. I approached it not with a focus on career ambitions, but a desire to carve my own path, even if it seemed unconventional. Having already stepped away from a career shaped by market demands, I wanted my work to be authentically mine, free from commercial influence. This perspective directly stems from my experiences with illness and brushes with death. My inner life permeates all my creations—not in a literal way, but certainly within the essence of the content. I see art as a therapeutic and uplifting means to navigate the challenges of the mind and spirit. I use it as a tool for personal healing, and I hope it serves as an inspiration to others as well.

Throughout your career, your art has been placed in many 'places of healing' such as hospitals and clinics. How do you feel your art contributes to environments focused on health and healing, and what do you think is the role of art in such spaces?

I feel truly honored that my artwork is displayed in spaces dedicated to healing. Just last month, I received an email from a former colleague in California who underwent major heart surgery. She expressed her joy in seeing my work in the hospital during her recovery! My pieces are also showcased in a breast cancer facility, and I've received several letters from patients who have connected with my art and expressed their gratitude. Personally, I've found comfort in experiencing art within healthcare settings, and I deeply appreciate its presence there.

You mentioned that your series usually span five to ten years. What determines the conclusion of a series for you? Is it an evolution in theme, a sense of completion, or external influences?

My approach to working in series is not predetermined or meticulously planned. Instead, I delve into images and compositions within the frameworks I'm exploring, such as geometric structures, and allow for organic changes to emerge that I can then pursue, leading to the creation of something new. This fluid process feels intuitive, making it easy for me to shift direction when inspiration strikes. Occasionally, previous ideas or techniques resurface—like recurring threads, such as grids. It’s akin to a library I've built, rich with diverse source materials at my disposal.

Reflecting on your experiences with the U.S. Department of State’s Art in Embassies program, how has representing American art on an international stage influenced your perspective on your work and its global reception?

Wow that was great – I wish it would happen again!

In your statement, you discuss the dualism of freedom vs. structure and the symbolic representation of these concepts through the imagery of birds. How do you balance these opposing forces within your compositions, and what challenges do you face in maintaining this balance?

I am drawn to the idea of creating tension through the juxtaposition of incongruent images in my work. There’s always a choice to make in the art-making process: do I choose to follow established conventions and present something straightforward, or do I embrace the unconventional and take bold risks? For me, the unconventional is what captivates and challenges me, making the creative journey engaging and complex.

I often ponder why I am so fascinated by duality and the challenge of successfully navigating it. This curiosity manifests in my art, where I place birds in unexpected environments to symbolize nature’s tenacity, as well as simply to explore visual intrigue. My connection to birds runs deep; I maintain numerous feeders and water sources in my garden, spending countless hours observing them. They have become entwined with my psyche.

When I paint birds, I feel transported into their world. I strive to create a sense of imbalance, an edge of uncertainty, before eventually rebalancing the piece to achieve a satisfying outcome. A crucial aspect of my process involves flirting with the risk of losing the painting before rescuing it. I remember a teacher in graduate school, Robert Hudson, who emphasized the importance of risk in art. He would often say that if you’re not willing to risk ruining the piece, you can’t truly create something exceptional. Embracing this challenge is what keeps my artistic practice vibrant and dynamic.

The notion of transition and adaptability seems central to your work and life. As the art world continues to evolve with digital and multimedia forms gaining prominence, how do you see traditional practices.

Embracing impermanence is crucial. I believe that traditional practices will eventually fade into history or become increasingly rare. This shift seems inevitable, as computers continue to replace many aspects of our creative endeavors. Today, we often lack the focus and patience required to pursue handcrafted objects and traditional techniques. The future of culture will be influenced by economic factors, global climate conditions, and basic survival needs. We are already recognizing the necessity of adaptation, raising important questions about the role of art in this evolving landscape. Ultimately, fundamental issues like food and water will take precedence.

Throughout my various series, I find myself returning to these themes in innovative ways—employing paint that mimics the delicacy of sheer silk or patterns reminiscent of moiré, ikat, stripes, and floral designs. During the pandemic lockdown, I turned to my sewing machine to create soft sculptures that captured my imagination and provided a sense of refuge from fear.

www.jenniferbain.com

Example of Moire fabric background on right panel: