Artist Kazaan Viveiros earned a BA with distinction from the University of Virginia in Studio Art and Religious Studies, and an MFA from the San Francisco Art Institute.

She has since exhibited work in solo and group exhibitions throughout the U.S. and in Europe, including solo shows in New York, San Francisco, Berkeley, Scottsdale, AZ, Richmond, VA, and Savannah, GA. In 2003, curator Rafaella Guidobono gave her a solo exhibition at TAD Concept Store in Rome.

Viveiros’s paintings have been collected by a wide array of corporations, including eBay and Capital One Bank, as well as by individuals such as Wal-Mart’s Rob Walton and novelist Danielle Steel. Her large diptych, The Whale, was purchased by Banner Desert Children’s Hospital and currently hangs in their radiology ward. Summit Medical Group MD Anderson Cancer Center has many of her works in their collection. In addition, five of Viveiros’s paintings were purchased by the Art in Embassies Program and are permanently installed in the U.S. Embassy in Addis Ababa, Ethiopia.

She was a 2011 Bethesda Painting Awards semi-finalist, was twice chosen as a visiting artist at the Torpedo Factory Art Center in Alexandria, VA, and was twice an artist-in-residence at Weir Farm in Wilton, CT. Viveiros was also an artist-in-residence at Dorland Mountain Arts Colony in Southern California. In 2015, she became a Fellow at the Virginia Center for Creative Arts.

Born 1969 Taunton, Massachusetts

Education
1994
MFA in Printmaking, San Francisco Art Institute, San Francisco, CA

1992
BA in Studio Art and Religious Studies, University of Virginia, Charlottesville, VA (with distinction)

Selected Solo Exhibitions
2016
Umbrella, Hopewell, NJ

2015
Chamber of Commerce, Alexandria, VA

2014
The Landing, Woodbridge, VA

2011
Blenheim Vineyards, Charlottesville, VA

2010
Athanaeum, Alexandria, VA

2009
Super Natural Observations, Page Bond Gallery, Richmond, VA

2008
New Paintings, G2 Gallery, Scottsdale, AZ

2007
Beyond Nature, Page Bond Gallery, Richmond, VA
Recent Works, 2CarGarage Gallery, Savannah, GA

2006
New Works, G 2 Gallery, Scottsdale, AZ

2005
Bounty, Kathryn Markel Fine Arts, New York, NY

2003
G 2 Gallery, Scottsdale, AZ
Evolution, TAD Concept Store, Rome, Italy
Passages, Julie Baker Fine Art, Grass Valley, CA

2000
Traywick Gallery, Berkeley, CA

1998
Mike Furniture, San Francisco, CA

Selected Group Exhibitions
2017
Sunscreen, Page Bond Gallery, Richmond, VA
Postcards from the Edge, Metro Pictures, New York, NY

2016
87th Annual Exhibition, Phillip’s Mill, New Hope, PA
Art of Stewardship, Howard County Conservancy, Woodstock, MD

2015
Shimmer, Page Bond Gallery, Richmond, VA
Project: Postcard 2015, NMSU, Las Cruces, NM
Athenaeum Invitational, Athenaeum, Alexandria, VA
Postcards from the Edge: A Benefit for Visual AIDS, Luhring Augustine, New York, NY
Aviary, Washington ArtWorks Gallery, Rockville, MD

2013
Art + Beer, Artists Circle Fine Art, N. Potomac, MD
Shade: A Summer Group Exhibition, Page Bond Gallery, Richmond, VA
Alchemical Vessels, Joan Hisaoka Healing Arts Gallery, Smith Center for Healing and the Arts, Washington, DC
Concerning Line, Page Bond Gallery, Richmond, VA

2012
Visual AIDS Postcards from the Edge, Cheim & Read, New York, NY
Illuminate, Page Bond Gallery, Richmond, VA

2011
Spectrum, Summer Group Exhibition, Page Bond Gallery, Richmond, VA
Past Meets Present VI, Ruffin Gallery, University of Virginia, Charlottesville, VA
Enduring Legacy: Selected Acquisitions, 2009-10, Longwood Center for the Visual Arts, Farmville, VA
Realism…Believe, ArtDC Gallery, Hyattsville, MD

2010
Love Test, Page Bond Gallery, Richmond, VA
Postcards from the Edge: A Benefit for Visual AIDS, Zieher Smith Gallery, New York, NY

2009
Going Postal, Target Gallery, Torpedo Factory Art Center, Alexandria, VA
End of Summer Sale, Julie Baker Fine Art, Nevada City, CA
Ultralux: 2009 Art Auction and Gala, Longwood Center for the Visual Arts, Farmville, VA
Postcards from the Edge: A Benefit for Visual AIDS, Metro Pictures, New York, NY

2008
Night of 1,000 Drawings, Artist Space, New York, NY
WPA Art Auction Gala, Katzen Art Center, American University, Washington, D.C.

2007
December Project, Page Bond Gallery, Richmond, VA
ARTivism: Engaging a Greener Generation, McGuffey Art Center, Charlottesville, VA
Summer Group Exhibit, 2 Car Garage Gallery, Scottsdale, AZ

2006
Opening Exhibition, 2CarGarage Gallery, Savannah, GA
The Steel Gallery Event at Fort Mason, San Francisco, CA
Fathom, Solomon Fine Art, Seattle, WA
Less, Trudy Labell Fine Art, Naples, FL

2005
Print/Group, Page Bond Gallery, Richmond, VA
Exquisite History, Vol.1: Land of Wandering, Off Grounds Gallery, Charlottesville, VA
Show Girls, Page Bond Gallery, Richmond, VA
Fine Things, Steel Gallery, San Francisco, CA

2004
Special Holiday Show, Julie Baker Fine Art, Grass Valley, CA
Lazy Days, Julie Baker Fine Art, Grass Valley, CA
Favorite Things, Steel Gallery, San Francisco, CA
Spring!: Group Show, Julie Baker Fine Art, Grass Valley, CA
Works on Paper, Momus Gallery, Atlanta, GA
Mostra-Mercato Arte, Spazio AKA, Rome, Italy

2003
Good Things Come in Small Packages, Julie Baker Fine Art, Grass Valley, CA
Remember My Name, Momus Gallery, Atlanta, GA

2002
Night of 1,000 Drawings, Artists Space, New York, NY
Post-Postcard 6, Southern Exposure, San Francisco, CA

2001
Baker’s Dozen, Julie Baker Fine Art, Grass Valley, CA
Post-Postcard 5, Southern Exposure, San Francisco, CA
Japonisme: Asian Inspirations, Torpedo Factory Art Center,
Target Gallery, Alexandria, VA

2000
Gallery Artists, Traywick Gallery, Berkeley, CA

1999
Gallery Artists, Betty Wasserman Art & Interiors, New York, NY

1998
Revolver, Traywick Gallery, Berkeley, CA
Animals & Their People, People & Their Animals, Sebastopol Center for the Arts, Sebastopol, CA
Post-Postcard 3, Four Walls Gallery, San Francisco, CA

1997
Get in Here (Part 1), Traywick Gallery, Berkeley, CA
Post-Postcard 2, Four Walls Gallery, San Francisco, CA
Timothy Higbee Gallery, San Francisco, CA
Recent Work, Carta, San Francisco, CA

1996
Post-Postcard, Four Walls Gallery, San Francisco, CA

1995
Janet Turner National Print Competition, University Art Gallery, Chico, CA
Cimarron National Works on Paper, Gardiner Art Gallery, Stillwater, OK

1994
Search for Eden, Mythos Gallery, Burbank, CA
Saint Francis Hospital Benefit Exhibition, Butterfield & Butterfield, San Francisco, CA

1993
Object d’Art, Morphos Gallery, San Francisco, California
Art/L.A., Los Angeles Convention Center, Los Angeles, CA
Diego Rivera Gallery, San Francisco, CA
Spring Show, Walter McBean Gallery, San Francisco, CA

1991
Fayerweather Gallery, Charlottesville, VA

Awards
2012
Best in show, 25: Target Gallery Celebrates 25 Years, Target Gallery, Torpedo Factory Art Center, Alexandria VA

2011
Visiting Artist Residency Award, Torpedo Factory Art Center, Alexandria, VA
Semi-Finalist, Bethesda Painting Awards, Bethesda, MD

2010
Visiting Artist Residency Award, Torpedo Factory Art Center, Alexandria, VA
Residency Award, Weir Farm Art Center, Wilton, CT

2003
1st Place Winner, KVIE Art Auction

2001
Award for Excellence, Communication Arts Illustration Annual
Residency Award, Dorland Mountain Arts Colony, Temecula, CA
Kala Printmaking Fellowship, Kala Institute, Berkeley, CA
Intermediate Honors, University of Virginia
National Merit Commended Scholar

Selected Public & Private Collections

Banner Desert Children’s Hospital
The Campbell Foundation
Capital Lease, Inc.
Capital One
Coronado Island Marriott Resort
Cristina Ferrare
Danielle Steel
Deloitte & Touche
eBay
Jewish Educational Alliance
Lincoln National Corporation
Nippon Express
Owens and Minor
P.A.L.L. Corporation
Perkins Coie
Rafaella Guidobono
Rob Walton
S. Robson Walton
Stanlee Gatti
The David and Lucille Packard Foundation
Time/Warner
Traditional Financial Services
U.S. State Department
US Embassy, Addis Ababa, Ethiopia
Vick Corporate Art Advisors
Virginia General Assembly

Publications

2010
Yep, Dylan. “Art Center Draws on New Artists,” Mount Vernon Gazette
Ross, Alice. “Mental Landscape: Embracing Art as an Organic Process,” Elan Magazine

2009
Studio Visit Magazine, Volume 5
Roberts-Pullen, Paulette. “Past is Prologue,” Style Weekly

2007
Proctor, Roy. “Elements of Style,” Richmond Times-Dispatch, Sunday, May 20
Hersh, Allison. “Natural Beauty,” Savannah Morning News, February 8, 2007

2005
Phillips, Deborah. “Fine Things,” ARTnews Magazine, December 2005

2004
Swanhuyser, Hiya. “Painting Favorites,” SF Weekly, August, 2004
“Designs of Distinction,” Naples Illustrated, September/October 2004

2003
“Up and Comers,” Atlanta Journal-Constitution, Sunday, August 3, 2003
“Mind and Matter,” Alumni News (University of Virginia Alumni Magazine)
“Kazaan Viveiros at Julie Baker Fine Art,” Artweek, April 2003
New American Paintings, Mid-Atlantic Issue

2002
Art on Paper, July/August 2002
Artweek, February 2002

2001
Communication Arts, Illustration Annual 42, July 2001
“Gallery Beat,” Old Town Crier, May 2001

2000
South Coast Style, 2000/2001 1st Printing
Pottery Barn Bed + Bath, Premier Issue 2000 and Summer 2000 Issue
East Bay Express, January 21, 2000, Volume 22, No.15

1999
Inquiring Mind, Fall 1999, Volume 16, No. 1
i Magazine, Spring 1999, Vol.2, No.2 and Summer 2000, Vol.3, No.3

1995
Ormes, Mabrie. “Printmaking Possibilities,” Chico News and Review

Lectures

2010
Kazaan Viveiros: Weir Farm Artist-in-Residence, Wilton Public Library, Wilton, CT, Feb 2010

2003
Art Talk, Julie Baker Fine Art Gallery, Grass Valley, CA, February 2003

2002
Guest Lecture, University of Virginia Printmaking Department, November 2002

Traveling has a way of opening up the mind to new possibilities. A change in visual environment, experiencing differences in such things as landscape, wildlife, architecture, and culture often sparks the creative process and inevitably leads to personal discovery.

In November 2008, I took a trip to Portugal, returning to the land of my ancestry. One fact I discovered on the journey was that my surname, “viveiros,” means “nurseries” in Portuguese. A nursery where plants are grown seems a fitting trope. The image of a plant’s branches and roots become a metaphor for my voyage—traveling to a new place, forging new paths, tracing branches of a tree, upward and outward, while learning about the place from which my ancestors came, unearthing roots embedded in the soil. Learning this information prompted new research into botanical illustration and further exploration of my interest in natural history and natural history art.

Consequently, within my new body of work are botanical drawings and images of details of nature. Many have the look of age worn documents or the yellowed pages of old books. Books have always been a valuable resource and a life long interest of mine. Two small works, Twin Leaf and Three Leaves, are works painted with gouache on the front and back cover of an antique book. The two works were inspired by the old-fashioned practice of pressing flowers and plants between the pages of books. The idea of collecting and saving a leaf or flower between a volume’s pages, manifests an instinctual need to savor our natural surroundings and preserve our individual experience of nature and landscape.

Among the other small works are delicate renderings of birds on paper vellum, (the historical precursor being animal vellum used in many historical manuscripts) layered over gouache paintings. These drawings reveal close observation and detailed study of individual species. The process of drawing becomes a method of investigation into the intricacies and individual characteristics of the birds, thereby creating a larger understanding and a greater appreciation for the beauty and complexity found in our natural world.

Yet, each image rendered departs from scientific accuracy at some point. Some elements in the picture plane are abstract, symbolic, or opaque. The work is not a window into reality or a scientifically accurate description. The setting is abstract, a physical creation, comprised of paper or wood and paint, evidence of the imaginative capabilities of the human mind.

Many of the larger works within the show depict land and sea. As reference for some, I used photographs taken while traveling of Portugal’s land, coast, and surrounding seashore. Some are painted in browns, umbers, and sepia, simulating the appearance of age, as in old sepia-toned photographs.  Some are comprised of the blue tones of the tiles so prevalent in Portuguese craft and architecture.

The work emerges slowly through the processes of observing, remembering and internalizing the idea of land, sea, or nature through a personal lens. They reveal strong connections that are immanent between mental state and the visual environment, awakening one to the value it has in forming our collective history of experience.