The Affordable Art Series is a thorough exploration of the flourishing local art community, offering avid collectors and interested newbies a peek at the current mindset in urban painting.

Despite the fact both Anthony Holdsworth and Beryl Landau have exhibited work for decades, The Changing Cityscape will be their very first dual show featuring San Francisco landscapes. Their styles present an interesting contrast in approach to a similar subject matter: the constantly evolving San Francisco skyline and neighborhoods.

While Holdsworth paints plein air, Landau works from photographs that she has taken. Holdsworth uses oil while Landau prefers acrylic. And Holdsworth attempts to capture the vibe of a particular place -- Landau evokes a feeling about it. The couple met in 1980 during an SFAI alumni show at SOMArts Gallery, when both were more evidently influenced by Bay Area Figurative Art. Through time and experience, they have each developed a signature style.

Year Of The Dog features 100 original drawings by UK-born, Northern California-based Gillette, who created the series over the course of a year and is now, aptly, exhibiting them at the beginning of the Chinese Year Of The Dog.

The idea began when Gillette found a box of vintage dog greeting cards at a local Goodwill. He drew over the top of them as an act of continuation/vandalism and found it tremendously enjoyable. He decided to draw his own dogs, and had Electric Works print batches of them with archival ink for his eventual series. Evolving organically, his drawings portray musical icons, youth subcultures, religious figures, and more.

Wildflower Child is an homage to both the Victorian fairy illustrations and paintings that Ursula Young grew up with in England and the colorful free-spirited love vibrations that were present 50 years ago during San Francisco’s Summer of Love. She provides a modern-day interpretation of the whimsical drawings against a Northern Califorinia background with an emphasis on the wildflowers abundant after the wettest winter in recent history.

Invisible Places explores two artistic directions that Ording has pursued in her body of work. First is her signature line work, which she evolves with the use of brighter hues as well as color washes over coffee-dyed paper. Ording’s other series focuses on abstract landscapes, which render dreamy ethereal places that may not really exist. With these latest pieces, she explores weather and movement.

Crossed Lines blurs the boundaries between art and design, as well as between mediums, through a heavy use of line by each of the artists. While born, raised, and based in different cities their styles speak to each other and to a contemporary international aesthetic.