Ann Weber makes monumental sculpture out of found cardboard boxes. Her interest is in expanding the possibilities of making beauty from a common and mundane material. Weber’s sculptures have a mystery or double meaning to them. Neither entirely representational nor abstract, but something in between, she wants the viewers to bring their own associations to the artwork. She received her BA in Art History from Purdue University and an MFA from the California College of Arts and Crafts studying under artist Viola Frey, whose large-scale sculptures greatly influenced Weber’s work. Weber lives and works in San Pedro next to the Port of Los Angeles She was awarded a Pollock Krasner Grant in 2018. Residencies, including the American Academy in Rome; Oberpfalzer Kunslerhaus in Schwandorf, Germany; International School of Beijing and the De Young Museum in San Francisco, have provided her with opportunities to work in extraordinary settings and interact with diverse audiences. Weber’s work has recently been exhibited at the San Francisco Museum of Modern Art, Long Beach Museum of Art, Craft Contemporary Museum in Los Angeles, Boise Art Museum, and Torrance Art Museum. Notable coverage includes the Los Angeles Times, Sculpture Magazine, Artillery, and online publications. Her cardboard sculptures have been cast in bronze and fiberglass for private clients and public art projects including projects in Phoenix, Denver, Sacramento, and Emeryville, California. Ann Weber is represented by Wönzimer Gallery in Los Angeles.

Together, Matt Reynoso and Eric Sanchez, are known as Indubitable Design. We work in traditional, digital, and innovative techniques in 2-D and 3-D art applications. Housed at The Compound Gallery & Studios in Emeryville, CA, we have experience creating durable, quality murals, installations, and artworks with call back to 1960’s design and a fresh modern feel. Matt Reynoso is an interdisciplinary artist working in a variety of media including woodworking, metal fabrication, printmaking, painting, and installation. Matt is the co-founder and co-director of the Compound Gallery & Studios. Eric Sanchez is an arts educator an interdisciplinary artist working in paper, design, photography, printmaking, and installation. We have found that this collaboration builds upon our early experiences as artists that worked in a collaborative printmaking studios. The natural dialogue and interaction that takes place in community studio is something that we have both strived to continue as practicing artists in the San Francisco Bay Area. Our initial introduction to printmaking was based in rigid tradition and craft. We have held tightly to the idea of craft while embracing our interdisciplinary spirit to create work that is fresh and approachable to a mass audience. Our foundation in printmaking has kept us attentive to the traditions, while reflecting on new tool sets that can alter the fabrication of matrixes. In our personal process, we have integrated projectors to help fabricate, large format, stencils, laser cutters for techniques to do photo etching with acrylic, laser, cut stencils, and wood blocks for both wood, and linoleum blocks for traditional press, printing and letterpress. This research has benefited our art colleagues in the studio and in education. We have a strong tradition of sharing knowledge and research to provide tools and resources for artists.

Born on Friday the 13th in Salem, Massachusetts, I started inventing creatures as soon as I was able to hold a crayon. Drawings that my mother saved from when I was only three years old reveal my obsession with the figure. The figures in these drawings show not only the distorted perceptions of a child, but my fascination with skulls, teeth, spirographic eyes, and invented body parts. My obsession with strange creatures continued throughout my youth. Monster models, dinosaurs, and horror movies on television occupied much of my time as well as drawing. I graduated from the Massachusetts College of Art in Boston in 1988 with a BFA in Painting. At the time I was making art that focused on surreal and psychological figurative painting and drawing. A bit later I added sculpture as part of my process, and my subjects continue to reveal a surreal bent in both structure and narrative. I have shown in galleries in Boston, Portland, Los Angeles and the Bay Area, as well as international venues in the United Kingdom, France, Germany, and Denmark. My work is included in collections at the de Young Museum in San Francisco, the di Rosa Preserve in Napa, California, and the Artothèque de Caen in France. For most of my art career I have been exploring open-ended narratives in my work. Using mostly a portrait format, I tap into my subconscious to conjure loose metaphors and symbols and weave them into compelling characters. Some of these beings represent a kind of psychological self-portrait. Others represent people (or critters) I have encountered throughout my lifetime, friends, neighbors, and generally everyday folks. Often these characters are amalgamations. These beings are not specific portraits, more like fictional impressions of various people or animals. The character’s life-story is left open to interpretation, inviting the viewer into the story-telling process. The results are what appear to be damaged or vulnerable beings, but a second look reveals complex and sensitive spirits, more like enthusiastic upstarts, rather than rejects or troublemakers.

Mark Hamer is a San Francisco-based artist who watched too much tv as a kid, then went to work creating art and animation for video games. His work can be seen in classic games like Grim Fandango and Psychonauts, and his paintings have been shown in galleries around the Bay Area and in Southern California. Mark’s paintings incorporate elements of anthropomorphism and visual storytelling, and explore the mysteries of human behavior and the absurdity of existence.

Martin Mazorra is a Brooklyn-based artist originally from West Virginia. He works chiefly in woodcut and letterpress, from small books, prints on paper, and large prints on fabric, to site-specific print-based installations. Since forming Cannonball Press in 1999, Martin has traveled and exhibited internationally. Martin has received a 2007 NYFA Fellowship in Printmaking, a 2010 United States Artists Ford Foundation Fellow, and a Marie Walsh Sharpe Studio Grant. His work is in the collections of The San Francisco Museum of Modern Art, The Taubman Museum, The Block Museum, and the Fort Wayne Museum of Art. His print Unmute Yourself, co-published with Planthouse Gallery NYC, was collected by the Beinecke Rare Book Library and The Metropolitan Museum. My work explores themes of personal isolation, and although it presents as portraiture, representing any individual likeness is not my primary concern. Instead, I focus on composition, lighting, and body position to suggest the internal state. Staging a piece typically involves directing the subject until their gesture and expression coalesce to evoke that interior space. As human beings, we gather in communities and thread our lives in intimate relationships with others. But as much as we seek and need those connections, we are each alone in our biological shells, universes unto ourselves. In my work, I strive to present a thematic mirror of that shared yet separate truth.

I was born in Berkeley, CA and raised in Poughkeepsie, NY. My college years were spent in New York City and Boston, where I graduated from Massachusetts College of Art and Design with a BFA in painting. After exhibiting and running a small gallery in Allston, MA, I made the leap back to Oakland and followed a circuitous path through film journalism and writing before returning to the visual arts in 2019. My work explores themes of personal isolation, and although it presents as portraiture, representing any individual likeness is not my primary concern. Instead, I focus on composition, lighting, and body position to suggest the internal state. Staging a piece typically involves directing the subject until their gesture and expression coalesce to evoke that interior space. As human beings, we gather in communities and thread our lives in intimate relationships with others. But as much as we seek and need those connections, we are each alone in our biological shells, universes unto ourselves. In my work, I strive to present a thematic mirror of that shared yet separate truth.

I am an artist and educator originally from North Carolina. I held solo exhibitions at The Compound in 2023 and 2025. My work responds to everyday experiences, often drawing from photographs I take while walking my dog or sitting in my car at a stoplight. I bring these photos back to my studio, where the act of painting draws me into the microcosm of each piece. I build up thin layers of acrylic, allowing small flashes of color to emerge through the surface. I invite viewers to come in close and discover the many hues as they reveal themselves, reflecting my interest in both observation and invention. Through the layers, I try to create scenes that feel immersive and alive, aiming to evoke the sensation of being within the environment. In doing so, I seek to infuse everyday subjects with a sense of unpredictability and vitality. I hold a Bachelor of Fine Arts from the Savannah College of Art and Design and a Master of Fine Arts from Winthrop University. I live and work in Oakland, where my studio assistant is an unhelpful yet supportive doodle named Ferris.

Natalie Friedman was born in Oakland, California in 1968. She graduated from UCLA with a degree in fine arts in 1990. Natalie joined the Compound Studio in 2022. She is known for her acrylic paintings of interiors, landscapes and still lives. In her paintings she explores the power of color and light to evoke a sense of place and belonging.

Packard Jennings is an interdisciplinary artist exploring the invisible levers of late capitalism on human consciousness, the environment, and public space. He interrogates political and corporate transgressions against the interests of a collaborative society and the natural world. He experiments with ways in which Power can be subverted or voluntarily relinquish its grip. His collaborative work with the Studio for Urban Projects focuses on community engagement, sustainability, urban resilience, and climate adaptation. Although he primarily works in public spaces, his work has been shown in galleries and museums in throughout the U.S. and internationally in Geneva, Turin, Paris, Stuttgart, Madrid, Ljubljana, Vancouver and Barcelona. His work has been published in several books, including: From the Ground Up, Art and Agenda, Urban Interventions, the BLDG BLOG book, and We Own the Night. His work has garnered critical media attention in The Boston Globe, Artforum, Flash Art, the Believer, Adbusters, New American Painting, the Washington Post, and the front page of the New York Times.

Tim Belonax is a designer, artist, and educator who has been making work at the Compound since 2016. Working primarily in serigraph, he embraces spontaneity, mistakes, and the peculiar, finding expressive possibility in a medium typically associated with control and reproduction. There's an energy in the work that resists settling, something between a shout and a question, made with conviction and left deliberately open. Rooted in a design practice that spans typography, print culture, and education, Belonax treats each piece as a negotiation between intention and accident, where the rules of making are always up for revision.