Bends And Bows

March 21 – July 13, 2020 | Public Land Gallery, Sacramento

Martin Machado set sail from the San Francisco Bay in March 2020, just a few days shy of the first U.S. mandated quarantine of the 21st century. With Sacramento as his final docking destination, Machado made way to present his newest body of work inside Public Land Gallery — unaware of the changing world outside of his tightly quartered sailboat. Having departed in the night on his teal-blue vessel named "Larus," Machado meandered his way up North through the San Pablo Bay, shifted East across the Suisun Bay, and eventually made his way through the Sacramento–San Joaquin River Delta, all the while painting a picturesque tour of landscapes from viewpoints only privy to water vessels. Exercising his unique aquatic perspective, Martin was able to transcribe the journey's visuals seamlessly through his distinctive strokes of oil paint and keen nods to impressionism. Machado's renderings depict familiar Bay Area sceneries such as the iconic C&H Sugar factory in Crockett, Rodeo's sea of refineries seen off of the I-80, and familiar crossings found along the Delta — all of which offer up a nostalgic body of work to be reflected upon and admired in these transformative times.

Both an artist and maritime laborer, Machado could perhaps be the first to embark from San Francisco and deliver paintings to a Sacramento gallery for an exhibition via sailboat. When Machado is not working as an artist, he can be found spending a portion of his year working on international containerships and commercial fishing vessels. His work has been shown internationally and has been featured in the San Francisco Chronicle, The New York Times Magazine, Juxtapoz, and New American Paintings. This is Machado's first exhibition with Public Land and in Sacramento.

Exhibition Images

About the Artist

Both an artist and maritime laborer, Martin Machado splits his time between painting and working on international containerships and commercial fishing vessels. His work has been shown internationally and featured in the San Francisco Chronicle, The New York Times Magazine, Juxtapoz, and New American Paintings.

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