Many artists have begun their careers in San Francisco, flourished here, and, most likely, felt a shift in the zeitgeist of the city in recent years. Whether positive or negative, SF has left an indelible impression on them, and they would like the city's current population to contemplate, celebrate, and otherwise react to their reflections. The purpose of the exhibition, which asks both “what has left” and “what is left", is to increase the dialogue about what some perceive as a diaspora and a cultural divide.

New paintings by Monty Guy from his ongoing signature series of tattooed children, which tell the stories of iconic artists through a portrayal of them in their youth and the ink on their bodies.

Old Souls are portrayed in the rich colors and knowing glances of Telopa's female subjects, who exist in timeless, otherworldly scenes. Gilded frames and elaborate laser-etched patterns provide an added dimensionality to the artist's surrealistic works.

Rich Fonseca borrowed the show name, Ah Um, from the title of a Charles Mingus album. It is the sound one makes before introducing themselves to a large audience. With this, his second solo show, Fonseca will present his developing series of single- and mutli-plane vortex paintings. Using house paint and found wood, he expresses a raw, organic energy in an abstract, jazzy manner.

Garland Of Hours introduces Gage Opdenbrouw's series of faceless portraits that are a reflection of mortality, love, and loss. These oil paintings are sentimental in subject matter while also suggesting the disintegration of time. The absence of facial features evokes different emotions depending on the viewer, and allowing him/her to complete the picture.

With The Shape Of Things, Ording presents a collection started both with obvious intent and with no definitive plan or end. This combination of conscious works and ones that are intuitively formed captures the elements of her creative process in varying degrees.

In every one of her pieces, Ording begins with a surface that she dyes and/or washes to create a natural, uncontrollable background. On top of that, she paints intricate line work and geometry. Her new body of work unveils experimental techniques in painting solid shapes and creating organic collage.