Jonathan Carver Moore: A Gallery That Builds Community Through Art

As I cross Market Street from Ikea’s new Saluhall, Jonathan Carver Moore’s tidy gallery quietly beckons. A lot has changed since its opening two years ago, but Moore—always with a welcoming smile and an indefatigable love for art—remains steadfast. His focus, he says, has always been to “build community through art.” Moore, located in San Francisco’s historic transgender district, has created a space where art meets activism, identity, and the very essence of belonging.
A Radical Conceptual Approach: Of the Earth Exhibition
On this particular day, Moore’s attention is fixed on his upcoming exhibition Of the Earth. Set to open this Friday, it coincides with the tail end of San Francisco’s beloved Art Week. The show is an ambitious exploration of colonialism, identity, and decolonization. Drawing from the revolutionary ideas of psychiatrist and philosopher Frantz Fanon, the exhibition dives into the psychological and social impact of these concepts.
Artists Amir Fallah, Asad Faulwell, Jaime Munõz, Kour Pour, and Lavar Munroe all engage with Fanon’s work, offering their own meditations on land, heritage, and identity. “In line with Fanon’s emphasis on returning to the land and reclaiming cultural roots,” Moore explains, “many of the works in this exhibition explore the relationship between bodies and soil. This theme is both metaphorical and literal, asking how the Earth itself has been colonized and what it means to reassert our connection to land.”

An Artist Residency That Supports Creativity
Moore also shares news of his gallery’s new residency program, just a few doors down from the exhibition space. “We currently have our second artist-in-residence,” he says proudly. The 2,000-square-foot space, once vacant and raw, now serves as a creative home for artists.
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Moore is passionate about utilizing vacant spaces in downtown San Francisco to give artists the room they need to work. “I kept thinking about how there’s so much empty space in the city and how artists need places to create,” Moore adds. “It’s been special to see the artists’ journey from start to finish, witnessing what they’re able to create in the space.” Although the residency currently lacks a formal selection process, Moore seeks out artists he feels will benefit from the opportunity. He envisions the program growing and evolving in the future.

Anoushka Mirchandani: Identity and Landscape
The gallery is currently hosting Anoushka Mirchandani (originally a San Francisco artist), the artist-in-residence. She stands behind a set of paints in an immaculate workspace. Her tools are neatly organized—a reflection of her self-described “type-A personality.” The large 2,000-square-foot space feels expansive as her paintings line the walls. At one end, a large work is being documented. Two canvases—blank except for a rich, earthy red—stand behind her workspace. This particular red, she explains, is the color of the earth in her hometown in India.
Mirchandani’s works explore identity, immigration, and displacement. “I started considering my own immigration and assimilation,” she says, reflecting on her experiences in the United States. “It made me think about how my grandparents went through similar journeys—specifically my grandmothers. But theirs was forced displacement, while mine was by choice.” This personal narrative infuses her art with both sorrow and renewal, offering a space for self-reflection and cultural exploration.

A Love Letter to Nature
Mirchandani’s works depict women in scenes where nature encroaches, gently consuming them. Her figures, often nude, are embedded in lush landscapes. They embody a powerful connection to the earth—almost as if they’re one with it. There’s no fear of the unknown in these scenes. The figures lean into nature, embracing the sun, the growth, and the renewal it brings.
“If we could feel the level of safety and agency we feel lying on a sofa, but in a natural environment, could we also become stewards of the earth as we are in our homes?” she asks. It’s a provocative idea, one that positions humans not as passive observers, but as active participants in the ecosystem.
Figures on the Edge: A Metaphor of Belonging
In another painting, two women stand at a gate, their bodies only partially visible. Outlined knees, nearly touching, are surrounded by tall grasses and plants. The figures cling to the gate, gazing outward with soft, enigmatic expressions. There’s something both familiar and distant about them. They could be sisters, close friends, or strangers on the brink of something untamed.
These figures, like many of Mirchandani’s works, balance on the line between identity and transformation. They embody the threshold between the known and the wild—between the familiar comfort of home and the vast unknown of the natural world. It’s a sentiment that resonates with anyone who has ever stood on the edge of something new, wondering if they belong.

A Strong Narrative and a Bold Vision
As I wander through the gallery, I find myself revisiting Mirchandani’s works again and again. Each piece is a jewel—rich with personal history, story, and the weight of cultural heritage. Many of these pieces will also be showcased at the FOG Art Fair this week, where collectors have already snapped up several works. But it’s not just the beauty of the art that draws me in—it’s the deep narratives of identity, culture, and belonging that permeate these pieces.
As Moore and Mirchandani prepare to showcase the work at the FOG Art, it’s clear that the gallery is more than just a space for art; it’s a place where community, identity, and culture collide and thrive. Moore’s vision of using art to build meaningful connections is not just a lofty ideal—it’s something palpable, tangible, and present in every brushstroke, every conversation, and every piece on display.
Jonathan Carver Moore and Anoushka Mirchandani at FOG Art Fair
Jonathan Carver Moore and Anoushka Mirchandani will be featured at the FOG Art Fair, January 23–25, 2025. For more information about Moore’s gallery, visit the website. To explore Mirchandani’s work, visit here.