SAN FRANCISCO ART FAIR | Booth B05
at the Fort Mason Festival Pavilion
April 17-20, 2025
Buy Tickets Here
Presenting works by Klea McKenna, Rodrigo Valenzuela, Janet Delaney
KLEA McKENNA
Remedy 7, 2025
Intaglio print (oil-based ink on rag-paper)
Edition of 3
41.50 x 29.50 in
Framed 46 x 33 in
KLEA MCKENNA
Showing work from the series Remedy
Klea’s latest work synthesizes a decade of innovative techniques, integrating intaglio printing into her image-making process to create a distinctive hybrid approach. While this series moves further from traditional photography, it remains deeply connected to its principles—particularly its complex relationship with detail, truth, and the real, shaped by the medium’s intricate history. McKenna employs these methods to depict semi-abstract, figurative beings that exist in a compelling tension between concrete evidence and speculative fantasy.
Remedy is a series of intaglio prints in which the tabs, flaps, and perforations of cardboard and textile materials become unexpected orifices and protrusions, evoking an aesthetic that fuses archeological artifacts with the die-cut curves of mass production. By inking and pressing these materials onto an etching plate, McKenna captures an index of corporeal forms, rendering them as effigies—transforming everyday objects into evocative, newly imagined artifacts.
KLEA McKENNA
Remedy 6, 2025
Intaglio print (oil-based ink on rag-paper)
Edition 1/3
41.50 x 29.50 in
Framed 46 x 33 in
KLEA McKENNA
Remedy 5, 2025
Intaglio print (oil-based ink on rag-paper)
Edition 1/3
41.50 x 29.50 in
Framed 46 x 34 in
RODRIGO VALENZUELA
New Land Painting C011, 2024
Unique, acrylic and toner on canvas
60 x 48 in
RODRIGO VALENZUELA
Showing work from the series New Land
The Los Angeles–based artist Rodrigo Valenzuela constructs scenes and narratives that point to the tensions between individuals and the societies in which they live. Much of Valenzuela’s work addresses the experiences of undocumented immigrants and laborers. In the series of paintings, entitled New Land, the artist considers the ideology of Manifest Destiny—a nineteenth-century belief in the inherent superiority of white European-Americans and their predetermined fortune to conquer North America—as well as the failures of the Homestead Acts that quickened the settlement of public land west of the Mississippi River. Valenzuela’s images of barren desert landscapes, the iconographic American West, invoke both these ideas of expansion and opportunity as well as painful histories of erasure that resonate with present-day debates on immigration, border control, gentrification, and climate change.
Valenzuela creates his landscapes by transferring printing toner onto raw canvas, a laborious process made evident by the wear and tear of the material. For the artist, this technique mimics that of photocopies and is a metaphor for the arduous bureaucratic procedures that immigrants must endure. The artist has first-hand experience of this as he emigrated from Chile to Canada and then to the United States. For many years, Valenzuela worked in the construction industry, a background often reflected in his installation materials, such as drywall and scaffolding, and in his videos. In the New Land works, references to architecture and interior spaces are superimposed on the landscapes, taking the form of lines and boxes that the artist describes as “transition zones” and “structures built out of desire.”
RODRIGO VALENZUELA
New Land Painting C004, 2024
Unique acrylic, toner and chalk on canvas
60 x 48 in
RODRIGO VALENZUELA
Mueca #5, 2024
Ceramic (unique)
9.50 x 14.50 x 8.50 in
RODRIGO VALENZUELA
Mueca #7, 2024
Ceramic (unique)
7 x 14 x 7 in
RODRIGO VALENZUELA
Showing work from the series Mueca
Muecas, a series of white ceramic sculptures mounted on aluminum pipes and metal armatures. Created by casting Valenzuela’s own hands in contorted, ambiguous poses, these sculptures capture unrecognized gestures of human expression. According to Valenzuela, these works serve as “motions of desire” and contribute to a “collective lexicon” that reflects the effort to communicate from positions of powerlessness.
JANET DELANEY
221 Main Street, 2014
from the series SoMa Now 2011-2021
Archival Pigment Print, 2023
Edition 1/2 +1AP
22 x 27.50 in, Framed 24 x 29.50 in
JANET DELANEY
Showing work from the series
South of Market 1978 - 1986 and
SoMa Now 2011-2021
Janet Delaney’s South of Market captures the complex history of a changing San Francisco neighborhood through photographs from the 1970s and 1980s, documenting a community on the verge of transformation due to urban redevelopment. After moving there in 1978, Delaney witnessed the nighttime demolition of a residential hotel, displacing dozens of poor and elderly residents—an event that inspired her to chronicle the economic effects of urban renewal. Using a large-format camera and color negative film, she created a deliberate and vivid record of blue-collar workers, small-business owners, families, and artists whose presence would soon be erased. Her rich color prints transcend their time, offering today’s viewers a striking perspective on gentrification, especially amid San Francisco’s ongoing transformations driven by the tech industry.
In SoMa Now (2011–2021), Delaney revisits the neighborhood she once called home, now rebranded and reshaped by wealth and displacement, where tech workers thrive while the unhoused take refuge in alleys. Feeling caught between past and present, she weaves a nuanced narrative of loss, change, and persistence, a perspective that earned her a 2020 Guggenheim Fellowship.
JANET DELANEY
Shantiben Dahyabhai Patel, Park Hotel, 1040 Folsom Street, 1980
from the series South of Market 1978 - 1986
Archival Pigment Print, 2023
Edition 2/2 +1AP
22 x 27.50 in, Framed 24 x 29.50 in
JANET DELANEY
Flag Makers, Natoma at 3rd Street, 1982
from the series South of Market 1978 - 1986
Archival Pigment Print, 2023
Edition 2/2 +1AP
22 x 27.50 in, Framed 24 x 29.50 in
JANET DELANEY
W Hotel, Natoma Alley at 3rd Street, 2013
from the series SoMa Now 2011-2021
Archival Pigment Print, 2023
Edition 1/2 +1AP
22 x 27.50 in, Framed 24 x 29.50 in
JANET DELANEY
LinkedIn Headquarters with a View toward Salesforce Tower and Facebook Offices, 2017
from the series SoMa Now 2011-2021
Archival Pigment Print, 2023
Edition 1/2 +1AP
34 x 42.50 in, Framed 36 x 44.50 in
JANET DELANEY
Reclaiming Bricks, Mission Street near 3rd Street, 1986
from the series South of Market 1978 - 1986
Archival Pigment Print, 2023
Edition 1/2 +1AP
34 x 42.50 in, Framed 36 x 44.50 in
ABOUT THE ARTISTS
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Klea McKenna (born 1980, Freestone, CA) is a visual artist who also writes and makes films. She is known for cameraless photography and her innovative use of light-sensitive materials. She is a 2023 recipient of the Guggenheim Fellowship Award in Photography. Her work is held in several public collections, including San Francisco Museum of Modern Art, San Francisco, CA; Los Angeles County Museum of Art, Los Angeles, CA; Getty Museum, Los Angeles, CA; Santa Barbara Museum of Art, Santa Barbara, CA; United States Embassy Collection; Mead Art Museum, Amherst, MA; Museum of Fine Arts Boston, MA, and The Victoria & Albert Museum, London. She studied art at UCLA, UCSC, and California College of the Arts. She is the daughter of renegade ethnobotanist, Kathleen Harrison and psychedelic philosopher, Terence McKenna. She lives in San Francisco with her partner and their young children.
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Rodrigo Valenzuela (b. Santiago, Chile 1982) lives and works in Los Angeles, CA, where he is an Assistant Professor and Head of the Photography Department at UCLA. Valenzuela is the recipient of the Harpo Foundation Grant and the National Endowment for the Arts. He has received the 2021 Guggenheim Fellowship in Photography, the Smithsonian Artist Research Fellowship, Joan Mitchell Award, Art Matters Foundation Grant, and the Artist Trust Innovators Award. Recent solo exhibitions include The Griffin Museum of Photography, Winchester, MA; Center for Maine Contemporary Art, Rockland, ME; The Print Center, Philadelphia, PA; BRIC Arts Media, NY; Screen Series at the New Museum, NY; Jordan Schnitzer Museum of Art, Eugene, OR; Orange County Museum, Santa Ana, CA; Portland Art Museum, OR; Frye Art Museum, Seattle, WA. Recent residencies include the Headlands Center for the Arts, Sausalito, CA, Dora Maar Fellowship, Ménerbes, France; Fountainhead Residency, Miami FL; Core Fellowship at the Museum of Fine Arts, Houston, TX; Skowhegan School of Painting and Sculpture, Madison, ME; MacDowell Colony, Peterborough, NH; Bemis Center for Contemporary Arts, Omaha, NE; Lightwork, Syracuse, NY, and the Center for Photography at Woodstock, NY.
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Janet Delaney (b. 1952; Compton, California) is a photographer based in Berkeley, California. She received the 2020 Guggenheim Fellowship and other numerous awards, most notably three National Endowment for the Arts Grants. Her work has been the subject of national and international group and solo exhibitions, including South of The Market, at the de Young Museum, San Francisco in 2015. Her photographs are found in the collections of the San Francisco Museum of Modern Art; The Oakland Museum of California, Harry Ransom Humanities Research Center at the University of Texas; Pilara Foundation, San Francisco; de Young Museums of San Francisco; Museum of Modern Art, Rio de Janeiro; and the Bancroft Library at the University of California, Berkeley. Her prior books include South of Market (MACK, 2013), Public Matters (MACK, 2018), and Red Eye to New York (MACK, 2021). Janet Delaney received her MFA from the San Francisco Art Institute. She was a lecturer and professor in photography throughout the Bay Area, the University of California, Berkeley and the San Francisco Art Institute. She is currently completing SoMA Now, a record of San Francisco’s rapid transformation into an international center of technology and all of the consequences these new riches have wrought. Both honest and poetic, her approach straddles the line between documentary and fine art.