I was raised in Berkeley, son of painter Sue Kastor, amidst her collection of beat era artist and miscreant friends. Exposed to way too much, probably way too early, those formative years being in the Berkeley of the 60’s. In 1975 I made a drawing, that I believe inspired the idea that being an artist might be my path. My mother said she felt sorry for me. She was sad I was going to be poor. Driven by curiosity and despair I began a precocious existence as a spiritual seeker. Drawings took forever. Money I would earn selling them evaporated instantly. I buried myself in good old fashion hard work in the construction trades. Always too exhausted to make art after I came home. But that buck or two opened new doors.

On to the Blade Runner-esque New York City of the late 70’s. That wonderfully insane place made me realize I knew little about “the real world” having grown up in an opalescent bubble, that was the Bay Area. Moved to NYC, I just suffered and partied and networked, and opened an art gallery, as a way to get back to my artistic inclinations. 'Psychedelic Solution' reflected my serious passion for psychedelic art. I had collected trippy posters, etc since jr high. I met all my art heroes. I showed all my art heroes. The gallery allowed me to start an archive of psychedelic art. I spent 20 years just studying it and working with the practitioners from so many traditions.. The eventual sale of my business, allowed me time to get back to making art, but this time around not having concerns related to the business of making art. I be as obsessive as I damn well please, and explore whatever the heck I want to for as long as it takes. And due to my sort of backwards romp of an art career, I can say I am very lucky to have been influenced by so much amazing art, so many artists and, such an interesting multiverse.

- Jacaeber Kastor

The art of the 1960s in San Francisco is impossible to imagine without Stanley “Mouse” Miller. Mouse’s vast and eclectic output over his more than 60 years of making work is a resounding testament to that truth. Mouse has been a major contributor to movements from the 1950s to the present day, and has had a substantial influence on the style and work of generations of artists.

Mouse shows no signs of slowing down, and continues to produce beautiful, challenging, and often humorous work to entertain, delight and provoke his audiences. This show is only one more stop along Mouse’s journey of artistic evolution.

Jermaine Rogers first achieved wide notoriety in the field of modern ‘rock art’, also known as ‘gigposter’ art, as well as serigraph and fine art production. Since 1995, he has created posters and artwork for a wide variety of musical artists, including Queens Of The Stone Age, David Bowie, Tool, Neil Young, Pearl Jam, Radiohead, The Cure, Public Enemy, Nine Inch Nails, Run The Jewels, Foo Fighters, and many others.

Rogers is also a recognized force in the ‘designer toy’ fine art scene, which involves the creation of meticulously crafted vinyl & resin figures, and are fanatically sought after by contemporary ‘pop art’ collectors.

Rogers' work is cataloged among the permanent collections of the Rock and Roll Hall Of Fame in Cleveland, Ohio as well as the Experience Music Project in Seattle, Washington. His prints, paintings and ‘designer vinyl’ figures and sculpture are collected worldwide, and have been featured in various books, periodicals, and several feature / documentary films.

Punk Art Surrealist Winston Smith, a master of “hand-carved” collage, has been crafting his thought-provoking art since the 1970’s. After being abroad for six years, Winston returned to America and was astonished by the complacency the American public exhibited towards the corporate domination in their society. Winston began taking “safe” images from magazines and combining them to create politically charged works of art that challenge the viewer to confront incongruities and political paradoxes of modern society.

Smith first became known (and later beloved) for his collaborations with punk legends Dead Kennedys and his numerous album covers, inserts and flyers for the band in their formative years. His technique of cutting out by hand and gluing each individual element has inspired a generation of artists.

In 1981, his political shock piece, Idol brazenly adorned the Dead Kennedys album, In God We Trust, Inc. That album, banned in England and condemned by the American religious right, landed Smith and Dead Kennedys a permanent spot in the punk culture Hall of Shame.

Zoltron's unique creations have been spotted from California to Poland, Kamchatka to Irkutzch, Thailand to Tennessee. His Artwork has been shown in galleries throughout the world, archived by the U.S. Print and Photographs Division of the Library of Congress, The Permanent Prints Collection of The Museum of Fine Arts, Boston, The Los Angeles Contemporary Art Museum and published in lots of rad books and magazines.

His work was once called "pretty heavy..." by a guy who happened to be walking by when Zoltron was drawing on a dumpster. ∆