OPENING: MAY 16, 2020
VARIOUS LOCATIONS AROUND LOS ANGELES COUNTY
Sean Noyce
The Garden
2020, Acrylic and serigraph on polyester, 24 x 36 inches
In my new media series, void Sigil( ), I have forged a relationship with the magical artifacts of antiquity and the coding language used to write apps and web technology. The title refers to common syntax used in programming (void) and the symbolic representation of a witches’ desired outcome (sigil). Subjects in my paintings are rendered by a computer using code that is written like a digital spell book, leaving an iterative artifact from that program. Repetition of language and image further reinforce the paintings’ magical properties, which is central to the process of casting a spell.
Curtis Stage
This Night Has Opened My Eyes
2020, Dimensions variable, Video/Sound on monitor
www.curtisstage.com Instagram - @curtisstage
SPECIAL HOURS: Video every Sunday for the duration of the exhibition from 7pm to 9pm
This Night Has Opened My Eyes is a series of animated photo video sequences on the collision of growth and decay.
Curtis is a Durden and Ray artist and his most recent artwork is comprised of photographs and films that were shot in Los Angeles and the surrounding suburban cities of Southern California. Most of these spaces and objects are the mundane of the everyday urban environment. Seemingly around every corner, there is often a collision of aesthetic choices that were never “collaborative” in that time usually separated the development. This usually creates the very unplanned feel of the LA area where an organic dance of growth and decay are accepted. If we slow down and look deeper there is unique evidence of “the story” in each place. We have been there and left our mark.
Khang Nguyen
Intra-Being: Dialectic of Self and Other
2019, 50 x 35 x 2 inches, Oil on canvas
www.intuitiveformation.com @khang_nguyenstudio
This painting is about the intra-relationships of organisms and their environment. There is no being as such. On the level of manifestation, the formation of beings comes about by virtue of their intra-relationships, implying that no phenomenon is separate and self-identical, yet each remains distinct.
David Clark
Seventy Three
2019, 84 x 4 x 4 inches (3 pieces each), Mixed media
www.daverclarkdesigns.com @daverclark55
Dave constructs mixed media “sculptural things” that might tell a story, cause one to think of a story, serve some practical purpose, or maybe none of these.
Dani Dodge
LA torn apart
2020, 36 x 216 inches, mixed media installation that includes painting
www.danidodge.com @dani_dodge
Dani Dodge uses unexpected sculptural materials to alter spaces. Her experience as an embedded journalist during the 2003 invasion of Iraq changed her forever. Since then, she has created art and installations that transform and challenge expectations.
Within these works are often elements of magical realism. From brightening a black and white snowy forest in Ireland with luminescent tree stumps to turning a Los Angeles gallery into a gantlet of rotating car parts made from baby blankets, her works play with surrealist ideas using innovative forms. The works merge the rational and the dream state.
Stephanie Han
The Font
2020, 23" x 24" x 3", acrylic on canvas
www.steph-han.com @steph_han_art
4th St is the main commercial hub in my neighborhood in Long Beach, a small but mighty collection of independent shops, bars, and restaurants. Of these, the bookstore Page Against the Machine really stands out for being one of the very few independent bookstores in Long Beach, and the only one on 4th St. It's a place I wanted to highlight in my neighborhood because of its uniqueness and value. My painting of the owl, a symbol of wisdom, with a font of what could be seeds of knowledge springing up behind it, seemed like an appropriate imagery for this place.
Chenhung Chen
They Will Not Find Me
2020, 16"x36"x60", Coated wire & found objects
www.chenhungchen.com @chenhungchenart
I use wire and electrical conduits as symbolic representations for the life force (“Chi”) that flows through all of us. Their fluid movement throughout my work draws a parallel with the experience of energy/Chi within myself. In my three-dimensional work, the crocheted wires indicate delicate and subtle qualities while the electrical conduits appear to be bold and powerful. This contrast parallels with the distinction of Yin and Yang, Female and Male. I go with my understanding of life and pull all these elements together to make my statement.
Carmine Iannaccone
Secret Agent
2020, 57 x 70 inches, Acrylic on panel
“Secret Agent” was composed from sketches I made as a visiting artist at a therapeutic facility for kids with learning and behavioral disorders. Initially, I was interested in the setting of the facility, which was unique, and the special kinds of interaction that transpired between the young clients and their therapists. As I got deeper into the project, though, I found myself drawn more to the inner world of these special people and the puzzle of how their experience, as well as their environment, could be visualized.
Yvette Gellis
Sacred Spaces
2020, 120" x 120" x 36" (approximately), Polyurethane foam, wood, canvas, acrylic, oil
(Works are attached to the front of the administration LIME Green building on 18th street. The work is a collaboration piece with Luciana Abait. Luciana has two printed images and Yvette (I) have assembled a sculptural work protruding out of the stretcher bars attached to the building.)
Yvette Gellis combines the flatness of abstraction with perspectival figuration in a deliberate effort to confound a sense of space. The site-specificity of her installations, whether indoors or outdoors, challenges traditional ways of viewing painting or experiencing the landscape. Forgoing the traditional boundaries of the medium, Gellis references the effects of the historically-defined sublime to provoke the unsettling threats and events of an ecological crisis. Gellis creates metaphors for imbalance and imminent devastation, thrusting the viewer into an imperiled environment. The inability to distance oneself from catastrophe is at once destabilizing and in alignment with ideas of the Feminine Sublime.
Written by Constance Mallinson"Sacred Spaces" was developed in collaboration and based on the sublime beauty of Luciana Abaits images.
Bryan Ida
The Lookout
2020, 20 x 16 x 2 inches, acrylic on panel
www.bryanida.com @bryanida
In this series I examine mankind’s endless demand for energy and expansion in the name of human advancement. The cost of this addiction to power in animal species and environment are deep and irreversible.
I present images of trees and nature placed one on top of the other bending and merging together. The juxtaposition of the two worlds reveal the struggle we face today with the future of our planet dependent on our ability to balance the increasing demand for resources and the needs of the natural world
Susan Arena
Home Quilts,
2008, 40 x 44 inches to 72 x 52 inches, Acrylic, collage, collage on tarps
www.susanarena.com @sugiarena
These quilt paintings are part of a series called “House Work.” They take on a new life and meaning in our brave new Covid19 world. I am in the process of mounting them to the front of my house, reinforcing a sense of the community of West Adams and the house as a repository for dreams, memories, troubles and triumphs.
Quilts represent the hand of the maker, traditionally a woman or group of women. I want these paintings to connect me with my neighbors and give a small gift to them in the way my garden gives them some respite.
Snezana Saraswati Petrovic
Bionic Garden
2020, variable size objects covering 20 x 30 x 8 feet, zip-ties, biodegradable filament, AR cards
www.snezanapetrovic.net @saraswatioblak
My installations are constructed narratives as a response to actual site, turning them into imaginary gardens, fictional museums or futuristic living rooms.
In the “Bionic Garden”, the native plants are juxtaposed to foreign objects and altered into post-apocalyptic, plastic-fantastic Sci-Fi cluster. The natural habitat is invaded by zip tie blooms, plastic waves, fake grass, and 3D printed corals. The spectators are invited to investigate site-specific space and narratives via AR “fruits” hanging from the trees while discovering polarities: destruction-restoration, death- life, and fragile-strong.
My art questions our role in unintended ecological disaster while having a glimpse into possible dystopian future.
Kiel Johnson
Public Work #1 (Piece has been taken down)
2020, Dimensions variable, mixture of stuff i found while on walk
www.kieljohnson.com @kieljohnson
(corner of valley and Boreland south west corner)
Through layered narratives and story telling, my work speaks to my travels and adventures of everyday life. I think of myself as an explorer, setting out each day on an unchartered path of mediation manifested in drawing and sculpture. My work is a springboard for metaphorical investigations of the world I inhabit.
Cody Lusby
A place for play
2020, 72 x 720 inches, paper, acrylic and oil on wood
www.codylusby.com @codylusbyart
(The artwork is located down the alley along the fence on the right hand side)
The increasing density of L.A. County's population has deprived its youngest residents of sufficient, accessible public space to play in. This is especially true in Long Beach, in which a large swath has very limited public parkland. In less dense areas, children often play in the immediate streets near their homes, but the intensity of traffic forces them to a playground of last resort, the alleys and a handful of parking lots. As a resident living adjacent to one of these spaces I feel a steward to keeping the alley safe and clean for our neighborhood youth.
Adam Francis Scott & Julie Whaley
Corita, Constance, Richard, and Sharon (A Rose Is A Rose Is A Rose Is A Rose)
2020, two panels each 82 x 45 inches, acrylic on clear vinyl
www.adamscottstudio.com @adamscottstudio
www.baskleather.com @baskleather
A site-specific work that re-imagines and re-positions an original Corita Kent silkscreen (A Rose Is A Rose 1968) from the personal collection of the art historian Professor Constance Perkins. The re-imagined work is installed on the outside of her former home at 1540 Poppy Peak Dr. in Pasadena. The residence was built for Professor Constance Perkins by the architect Richard Neutra in 1955. The residence is now owned by the writer and historian Professor Sharon V. Salinger. The artists Adam Francis Scott and Julie Whaley are renting it from Professor Salinger while she is in Paris.
Hagop Najarian
Harmony in my Head
2019, 36 x 48 inches, Oil on canvas
www.hagopnajarianart.com @hagopnajarian
Atonal Chromatics is a series of paintings that investigate the compositional and structural elements of Atonal Harmonics in music and translates the effects to the process of drawing and painting. The paintings are a synthesis of musical genres coexisting on the same surface. They are a response of listening to a variety of musical approaches and creating visual equivalents. The drawings and paintings explore the interactions of sound and color. I am searching for ways to communicate visually what I experience when hearing and playing music. By using the visual elements of composition, line, shape, speed, texture, light and color, I exchange comparisons to the musical structures of rhythm, volume, mass, atonality and harmonics.
Kiyomi Fukui
Apologetic Envelope
Originally 2015, revisiting 2020, 2.75 x 5 inches, gampi paper screen printed with colored rice starch, graphite and mustard seeds
www.kiyomifukui.com @kiyomimiz
(This is the intersection of Cherry Ave and 4th St in Long Beach. My envelopes are installed on phone polls on NE, SE and SW of the intersection.)
In 2015, I made Apologetic Envelope, which later turned into my other project, Apologetic Garden. Participants were asked to write a letter of apology, insert in the provided envelope along with a few seeds and bury it in a garden bed. The idea was to let a private thought transform into a living plant as a way of reconciliation. This time, my hope was to reveal my apologies in the public, treating the viewers’ eyes as the garden bed, a substrate of transformation. The apologies are only visible upon close examination, in hopes of creating a certain level of tension.
Cynthia Minet
Upper Cut
2020, 8 x 17 x 20 inches, wood, plastic, metal, paper
www.cynthiaminet.com @cynthiaminetart
My work is often site-specific, made in response to the exhibition venue, and I usually work with recycled materials and light to draw attention to environmental issues. This disused methane vent, on North Broadway outside of Chinatown, inspires me to make a piece that plays with scale. It points to life in a petrochemical-dependent world, as well as Los Angeles' affordable housing crisis. Imagine yourself at the height of 1.5 inches, and explore my dwelling.
Sophia Allison
Ghosting (You Are My Sunshine)
2020, Approx. 46 x 48 inches, Cut paper window installation and banjo performance
www.sophiaallison.com @sophia.allison
During the past 6 weeks, I have sat in our bedroom window, practicing banjo. Our window faces out onto a busy sidewalk and heavily trafficked boulevard. "You Are My Sunshine," is a song I play daily; it seems especially appropriate as it contains a duality of emotion – happiness (love, being loved and fond memories) and sadness (reflecting on the loss of someone loved.) Occasionally, people notice me in my window; they can't hear me above the din of the outside environment; for them, it's a silent performance. The bars on the window highlight separation and containment of me in my space (not unlike a bird cage.)
Ann Weber
YOLO
2014, 102 x 96 x 96 inches, found cardboard, staples, polyurethane
www.annwebersculpture.com @ann_weber_sculpture
Ann Weber relocated to Los Angeles after 30 years in the San Francisco Bay Area. She earned a BA in Art History from Purdue University and an MFA in Sculpture from the California College of Arts and Crafts where she studied with renowned ceramic sculptor Viola Frey. She was awarded a Pollock Krasner Grant in 2018. Residencies, including American Academy in Rome; Oberpfalzer Kunslerhaus in Schwandorf, Germany; International School of Beijing and the De Young Museum in San Francisco provide her with opportunities to create sculpture in extraordinary settings and interact with a diverse audience.
Amanda Mears
A Perpetual Possibility
2020, 48 x 60 inches, Photo transfer, charcoal and spray paint on canvas
www.amandamears.com @amandamears.studio
My paintings are about layers and layering: paint layers, geological layers, layers of meaning. They explore the idea of landscape as something ephemeral, fragile, mediated, specific and intimate. They are rooted in my practice of drawing from life and photographing textures and shadow patterns. The paintings weave together elements of these drawings and photographs. Some details are amplified, others are subtracted, until a sense of place emerges. Distinct moments and viewpoints are conflated into one delicately balanced construct: like a dream space whose elements are held in balance only in the mind of the dreamer.
Sonja Schenk
And Then The Yellow
2020, 54 x 68 x 24 inches, live plants, gypsum, plastic, acrylic paint, light(BEST VIEWED FROM DUSK TO SUNSET)
www.sonjaschenk.com @sonjakatschenk
I am a multi-disciplinary artist from Los Angeles. I began with video installation work and have since turned to other types of installation, painting, and sculpture. My work explores the intersection of humankind and the natural world through traditional, technological, and transformative processes. I exhibit both locally and internationally and have created several large site-specific installations. Influenced by early mentors Allan Kaprow, Dee Dee Halleck, and Manny Farber, my work relies on a strong grounding in conceptual thought that is then translated to various media.
Curtis Weaver
Chicken or the Egg?
2020, dimensions variable, tree with figures cast in silicone and urethane
www.curtisweaverart.com @sea_weaveland
Driven by an infatuation with the work of acclaimed evolutionary biologists, my artwork explores the functionality of nature’s building blocks and their varying levels of complexity (cells, tissues, organs, systems, organisms etc). Interpreting Earth's organisms as evolved survival machines for individual genes, I reimagine familiar building blocks into new survival machines and invite viewers to ponder the environments and circumstances necessary to evolve such specimens. The installations, while meant to be quirky and humorous (often depicting mixed-up methods of ingestion, excretion and reproduction) are also meant to elicit dissonant emotions and draw parallels to the selfish nature of human beings.
Steven Wolkoff
ArtWag: The Art Walk for Dogs Who Can't See Art Good And Wanna Smell Good Stuff Instead
2020, 800 meters / 1/2 mile, A scented walk experience for dogs
www.stevenwolkoff.com @stevenwolkoff
SPECIAL INSTRUCTIONS:
Your dog can find and enjoy pleasant smells while the two of you walk
on 17th Street between Bagel Nosh Deli (1629 Wilshire Blvd, Santa
Monica, CA 90403) and the Montana Ave Branch Library (1704 Montana
Ave, Santa Monica, CA 90403). Please remember to maintain social
distance.
ArtWag: The Art Walk for Dogs Who Can't See Art Good And Wanna Smell Good Stuff Instead is an olfactory art experience for dogs. Special scents that have been shown to reduce stress in dogs will provide our canine companions with new opportunities for stimulation on this 800 meter walk between two neighborhood landmarks in Santa Monica.
Samuel Scharf
Distancing
2020, 43 x 30 inches, Paint on wood
www.samuelscharf.com @samuel.scharf
I make art for the inspired situation. "Distance" talks to our current situation of social distancing along with the distance between two images. In this case, the palm tree that "Distance" references is about 2 miles away to the South, only visible from our balcony. What you are seeing from the street is my representation of the mirror image of that distant palm off in the invisible horizon behind you.
Rebecca Niederlander
Central Sensitization
2020, 15' x 20' x 15', Wood, metal, twine
www.becster.org @rebeccaniederlander
Central sensitization is the condition of the nervous system associated with the development and maintenance of chronic pain. When central sensitization occurs, the nervous system goes through a process called wind-up and gets regulated in a persistent state of high reactivity. I see what the world is experiencing right now as such a thing. An individual experiencing this must learn to to work with the brain to talk to the pain receptor cells to find ways to calm them down. May art be that calming down for the world.
In my work complicated elements are brought together precariously; connected together, stressed by gravity and tension. They are completely responsible for each other. The more precarious they are, the more their own mortality and their response to the stressors of existence mimics our own fleeting moment.
Valerie Wilcox
Be Here Now
2020, 96 x 52 x 6 inches, acrylic, metal hardware, nylon cord, salvaged wood, tennis ball
www.valeriewilcox.com @vcwilcox
Using salvaged pieces found throughout the neighborhoods near her, Wilcox creates a reimagined, abstracted understanding of our constructed environment and how our brain works to piece together diverse elements. She uses common materials to create connections between our everyday lives and new ideas about how we construct our physical surroundings.
Wilcox has been included in many local and international exhibitions including the Torrance Art Museum, San Jose Institute of Contemporary Art, Irvine Fine Arts Center, Mount Saint Mary’s University, Palo Alto Art Center, QiPO Art Fair in Mexico City, Kölner Liste Art Fair in Cologne; Galleries in Wuppertal and Berlin, Germany; Brisbane, Australia and Stockholm, Sweden.
Wilcox has been published in the NY Times T Style Magazine, The Huffington Post, Coolibri Magazine in Germany, Veranda Magazine, Saatchi Art, The Beach Reporter, Art Nerd in San Francisco, DiversionsLA and Art and Cake.
John Waguespack
Reincarnation
2020, 8 x 8 feet, Video
(SPECIAL HOURS: Video will be shown between 8 and 9 pm nightly)
www.jwagart.com @waguespack_art
I am an artist working in multiple mediums across multimedia focusing on bridging the gap and finding connections between fine art and technology. I view everything pre internet as the CMYK Universe and everything post as the RGB Universe. The CMYK universe was finite, tactile and in many ways primitive. The origins of painting, context, color and space serve as the foundations for our transition to this hyper charged RGB universe. Content and information are the new mediums. I am focused on exploring how the foundation of the CMYK universe will influence and drive the direction and work artists are exploring now.
Kio Griffith
tarai-mawashi (passed around)
2020, Dimensions variable, Printed or drawn text on paper and occasionally wood
www.kiogriffith.com @kiogriffith @vinylgorilla
Relishing the materiality of found and appropriated objects, images, and sound infused with the cross-cultural history in which Kio Griffith perpetually dwells, he often mines his own richly complex family history for personal experiences which create insights into a broader geopolitical context even as they touch on modern-day issues of immigration and hyphenate identities.
Griffith channels psychogeographical experiments to investigate personal referential space, challenges of hierarchy, territory, and illusions. Cultural identity weaves through spatial-time zones and the affirmation of identity itself through written and visual language, alternatively overwriting the history of the other; the duality intersects on an invisible X-path.
Alison Woods
FlowerPowerGate
2020, acrylic paint on chicken wire, 67x74x24 Approximately
www.alisonwoods.com @alisonwoodz
FlowerPowerGate references a movement from the late 1960s and early 1970s of passive resistance and a non-violence ideology and the scandals of the era. Stix n’ Stonz derives its title from the childhood rhyme.
Michael Nannery
I appreciate and respect you
2020, 9 x12 inches, Screenprint on watercolor
(Prints are posted on telephone poles at the intersection of Ocean and Cherry)
I came to know the phrase "I appreciate and respect you" from an interdisciplinary project at CSULB between the Linguistics department and the Puvungna Arts Empathy Production Project. As I would see the words on a regular basis, I began to feel it is a necessary mantra for us all. As a printmaker, I choose to propagate this sentiment.
Helen Chung
Huggers' Party
2020, 36 x 48 inches, charcoal on paper
www.helenchungstudio.com @heleninorbit @helen_chung_studio
The drawing loosely addresses the desire to connect physically during this social distancing - not being able to touch or hug each other, while interpreting whimsically, as it is not a permanent state of being.
Labkhand Olfatmanesh
Cycle (Baby Maybe)
2020, 20 x 25 feet, Installation, Performance, Photography
www.babymaybe.co @labbiemanesh
Women still answer for choices we make with our bodies!
So in honor all women whose voices are silenced I will explore Los Angeles and photograph several of my clear bags filled with water and document them as street installations. Bringing each bag to a unique site will evoke a feeling of privacy and grief in a public space. The journey will end at an outdoor space where I will place the words collected from my journey into a growing organism of reflection. I will donate to the National organization for Women daily, to reaffirm my purpose. Join me!
Michael Rollins
Sunrise on a side street
2020
Projection approx. 20 x 20 feet, Hybrid animation projection
SPECIAL HOURS: The work will be projected onto the Wilhardt and Naud building from Sunset to 10pm every night.
www.michaelrollinsart.com @michaelrollins
I've created an abstract environment in which its spaces are always changing and expanding. Each individual work exists for people to explore. And each work provides more views to other places in the environment. There are recurring elements that move from piece to piece, and provide an abstract narrative. Things between works are revealed, extracted, and exchanged. I'm interested in buildups and breakdowns, interaction between disparate elements, and the chaotic disruption that is present in these narratives.
Roni Feldman
Front View Mirror
2020, 24 x 42 inches, Acrylic on canvas
www.RoniFeldmanFineArt.com @rfeldmanartist
My latest paintings are made entirely with white paint, but they come alive with light as it refracts over the varying matte and iridescent surfaces. As one moves in front of them, or sunlight changes the lighting in the room, the paintings vacillate between abstraction and representation, revealing scenes of powerful natural transformation: great waves, storms, clouds, eroded canyons, and volcanic flows. The scenes are grand, even sublime, but the luminescence, soft edged paint, and transient iridescence has a peaceful quality as well.
Carl Baratta
After The Obstructor
2020, 20 x 26 inches,Sumi ink on yupo watercolor paper and wheat paste
www.carlbaratta.com @carlbaratta
I am constantly investigating different ways of compressing multiple moments into a single scene, a common conceit of miniature painting, Sienese imagery, Norse mythology, and other narrative sources. It is my intention to create drama within the construction of spatial shifts, clashing color palettes within their figure/ ground relationships. Ultimately, I wish to express what I love about looking at my favorite images from what inspires me, and create something new for the viewer. I am very proud to be co-director of the artist run, non-profit space, Tiger Strikes Asteroid Los Angeles (TSA LA) and a member of Gallery ALSO.
Katya Usvitsky
Bloom
2020, Dimensions variable, thread, nylon & fiberfill
www.katyausvitsky.com @katya.at.the.studio
My artwork is heavily process oriented, similar to working with clay. I hand felt fiber before inserting it into nylon stockings, tying off each new node with thread. It's an additive process that subverts a synthetic, man-made material like nylon back into organic matter. The piece becomes an object that looks otherworldly, yet familiar–something that feels as if it could have grown and replicated on its own. A soft cocoon, a warm seed, cells, eggs, bacteria, cancerous growths, flowers or fungi. The conversation is about body, about femininity, and the tension between heart and head, biology and technology.
Katie Stubblefield
Poppet (for warding off fevers)
2020, 24 x 24 x 52 inches, Mixed-lobster trap, buttons, coat hangers, zip ties, metal rings
www.katiestubblefield.org @katiestubblefield
Katie Stubblefield’s wood cut prints, oil paintings, sculptures, and sight-specific installed projects explore order, chaos, and entropy. Stubblefield’s imagery is informed by site visits, forensic photography, first-hand accounts and evidence of changed/damaged/evolving environments caused by super-sized storm patterns and climate change.
Jennifer Celio
Sad bangers
2020, 15 x 15 x 5 inches, Speaker component, artificial flower, soil
www.JenniferCelio.com @jencelio
In assemblage sculptures and sculptural installations, I utilize materials that create a tension between natural and artificial, organic and constructed, nature and human civilization. While they are created from trash, scraps, and personal effects to minimize the use of new materials, I’m intrigued by how the history of these objects contributes meaning.
Camilla Taylor
Gathering
2020, 8 inches tall by variable, Ceramic and underglaze
www.camilla-taylor.com @camillataylor
The tiny figures are dwarfed by the garden they inhabit. Small things, easily overlooked, like those forgotten.
Pete Hickock
Trap
2020, 18 x 14 x 21 inches, Mixed Media
www.petehickok.com @petehickok
Pete Hickok is an artist working primarily in Sculpture, Video, and Performance. His work uses a kitsch sensibility and pleasure of materials to muddle the boundaries of control and chaos. He has shown extensively throughout the west coast, including San Francisco where he received his MFA from the San Francisco Art Institute in 2012. He currently lives and works in Los Angeles, California.
Olga Lah
왕국 | Whangguk
2020, marking flags, dimensions variable
I am interested in creating site-specific installations that raise a heightened awareness to a space. I seek to create a sensory experience that engages on multiple levels through color, form and size. My work is constructed from the accumulation and repetition of commonplace materials. I invite a behavioral reorientation to the material and to the context that my work inhabits. Ultimately, I explore the notion of the everyday and consequence of experience. Underlying in the experience is an idea of transcendence that invites a truer response of ambiguity over a precarious nature of what is considered as absolute.
Thomas Müller
This is a magical space too.
2020, 24 x 24 x 6 inches, unfired porcelain
www.thomaspmueller.com @thomaspmueller
Language is a tool that is used to give abstractions meaning. Despite its ephemeral nature, language defines virtually every experience of the human condition. Language is used to create boundaries. Because we believe in those boundaries, they become real. This piece defines a magical space. Like language, the piece is ephemeral and will break down in time. As the piece erodes and collapses, ultimately it will leave a ring of porcelain dust where the text once stood. As it slowly collapses it moves from the literal to the abstract, the space it defines will remain the same.
Marielle Farnan
Untitled
2020, 24 x 70 inches, glass and vinyl
@mariellefarnan
Banal is often defined as lacking originality, freshness, or novelty. But is there also comfort and beauty in the everyday rituals and objects that we surround ourselves with? I seek connection in the universal language of the commonplace and meaning in the infinite banalities of life.
Brenna Ivanhoe, Nancy Ivanhoe
behind under around
2020, Dimensions variable, Mixed media
www.ivanhoebrenna.com @brennaivanhoe
www.nancyivanhoe.com @nlivanhoe
We are flexible and bend towards the flowers, which bend towards the sun. We listen and react — at the whim of their wildness, at the mercy of their brief presence. We highlight their fleeting presence, standing back as much as possible to be the best support we can - distant, quiet, yet celebratory. An earnest listener, quiet observer, submitting ourselves to their story. Back behind them, under them, next to them, never in front of them. For their moment is too brief to compete with. Too complete in its sporadic ease. We can only attempt to be their extension, support, backdrop.
Maura Bendett
Untitled
2020, 24 x 22 inches Sculpey, map pins, wire, bio resin, and vines
www.maurabendett.com @maura_bendett
My art is about how nothing we think that matters actually does. I use acrylic paint, paper, wire, and mixed media. When making my work I think about the origin and complexity of life forms.
Anne Martens
Repeat/Disrupt
2020, 15 x 60 inches (each), printed and painted paper, cardboard, wire
Repeat/Disrupt consists of colorful, patterned discs strung together with wire and designed to be suspended from earthquake bolts on the side of a brick building. They sway and twirl in the breeze. There are several inspirations for this work. One is that I’ve always been intrigued by objects that are thrown over, and dangle from, power lines. Mainly for their kinetic qualities, but also maybe because I am intrigued by the various, often conflicting, urban legends associated with them. I also wanted to create something for my neighborhood; not dark like those urban legends, but meant to be visually cheerful. My work typically involves making photo-based designs related to conceptual themes that are both political and visual, that take the form of patterns on paper, fabric, and found objects. I make or adapt those materials for site specific installations.
Andrew Philip Cortes
Para el Barrio (For the Neighborhood)
2020, 63 x 13 x 13 inches, Defunct Pay phone, glass, mirror, paint, live plant, and mixed media
www.Andrewcortes.com @apc_ortes
Intended to accent naturally occurring forces at play (sunlight, water, wind, sound, gravity etc). The installation work of the artist is meant to live, breathe, and decay into the terrain it was built from or into. Yet it’s deepest intention is always to serve another. Whether that be a bird quietly perching or a small community using a bus stop daily. Built for those to see with it, as they wish or need. An ambient echo of the human experience that acts as a mystical through-line for the other disciplines practiced by the artist.
Steven Rey Fujimoto
Scratch Built
2017/ 2020, 13 x 64 x 108 inches, Mixed media: Bamboo sticks, thread, plywood, hardwood, cord, ABS, foam, ground straps, copper tubing, yarn, silicone hose, burnt redwood, epoxy
www.greeniearts.com
Tacit and organic; my artwork explores the metaphoric ties that bind the human experience with the natural world. Veiled glimpses of pop culture intersect randomly with nostalgia; the technical and political realms collide in agitated bliss, and my artwork assumes new but hopelessly ephemeral meaning even while integrated into masculine, three-dimensional form. Born and raised in Southern California, I strive to draw from both hemispheres to create works that inform, entertain, educate, and amuse. My on-going body of work utilizes a range of organic and inorganic materials that are often found as discards.
Dakota Noot
Beach Bum
2020, 144 x 144 x 2 in., Colored pencil and crayon drawings on paper and foamcore
www.dakotanoot.com @dakotanoot
Located in alley. Parking is available at Starbucks/KFC a block away (On the corner of Fremont and Huntington)
I am a farm animal. I do not identify with gay labels such as bears or otters, which signify hair and body type. Instead, I use the farm animals that my family has raised or eaten to represent myself through drawing, painting, and installation. I am a chicken, cow, horse, and a goat. The ability to be eaten, consumed, and owned is far more important to my identity than my masculinity.
Stephanie Sherwood
Confine In Situ (Couch + Fridge)
2020, Dimensions variable, enamel on found discarded furniture
stephaniesherwoodart.com @stephanie_sherwood_art
The elevation of abject forms fascinates me—raw meat splayed out on a cutting board or stuffed into a tupperware container; fleshy shapes bound within a rigid cage; haphazard fabric, plastic and paper cast aside in a shopping cart. The stark contrast of chaos within structure strikes a sort of unexpected beauty. My explorations begin with strong lines and progress with thick paint. Recently, the expression of these fleshy obsessions have manifested into urban art interventions on discarded furniture in Los Angeles; only lasting as long as the object sits in the alley or on the curb.
Mark Steven Greenfield
Homage to Mestra Didi,
2014, 63" X 18" X 18", Plastic Containers, Zip ties
www.markstevengreenfield.com @dawggie51
Mestra Didi was an artist/priest who created works related to Candomble, the African religion practiced in Salvador, Bahia, Brazil. He is noted for producing "Ibiri", sculptures used in religious ceremonies. My piece is an interpretation of these, intended to spread blessings to all whom come into its presence.
Josh Friedman
Cluster
2020, 3 x 4 inches, leaves, incense, fire
www.joshfriedmanart.com @joshfriedmanart
Residual accumulations of my small, repeated gestures that once gave thoughts formed and recorded my journey of becoming cancer free, now give the fleeting commodity of time palpability. Making the fragile, more fragile.
Joel H. Mark
160826_003
2016, Image Size: 6.24 x 9.0 inches, Paper Size: 8.5 x 11 inches, pigment print
www.joelmark.com @joelh.mark
I’m drawn to urban architectural landscapes, detritus, the everyday ordinary that most people ignore. I use the photographic print to share my fascination with all of this. Chance plays a large part in my practice. Subjects find me, and they are photographed as found. I’m not a documentarian. In post-production, I interpret the image, removing elements that are not necessary, manipulating color, doing whatever I must to draw a viewer into the photograph. This image is from the series New Urban Landscapes.
Dawn Arrowsmith
Color Talk
2020, acrylic on board, 45 x 45 x 1/4 inches
dawnarrowsmith.com
What does Orange say to Blue, Blue say to Yellow, Yellow say to Purple, Purple say to Orange?
Luciana Abait
Peaks
2020, 50" x 70" each (diptych), mixed media work printed on outdoor vinyl
www.lucianaabait.com @Luciana Abait
The two pieces are installed in the front of the LIME GREEN BUILDING
The works show peaceful soft hued California mountains. They are simple, direct and uncomplicated, becoming contemplative artworks. Viewers can appreciate the sacredness and perfection of our environment while reflecting on its fragility due to global warming. In the middle of our current world crisis and its aftermath, these mountain peaks also symbolize freedom, resilience and the power of our human condition to rise above hurdles and stand proud on the summit while feeling the soft California breeze in the air that makes us feel we are free and alive
Mei Xian Qiu
This is Your Time to Change the World
2020, 3' x 7' feet, vinyl, dirt, mirrors, stones
www.meixianqiu.com @mei_xian_qiu
(The piece is located on the south side of street next to Cacti)
This piece is the first cornerstone piece of a new body or work that describes Calls to Action, which engages the viewer to make positive change in a world in need of healing.
Colin Roberts
Bubblewrap Giraffe
2013\, 42 x 38 x 26 inches, Mixed media
Colin Roberts graduated BFA Otis School of Art and Design in 2001. His work is a language of sculpture, drawing, painting and installation that explore themes around the fragile human condition. The pieces evoke uncanny imagery from both past and present, and are obscured in strange and fantastical ways using surrealism and abject tactics. Kaleidoscopic Glass Pillows, Flesh Books and Bubblewrap Cubes are some of the surreal creations that make up the work. The work is a careful balance of humor, science and the grotesque, calculated to lead the viewer to question their personal thoughts on various subjects. Through this, the works have the ability to cross significant cultural, social and psychic boundaries.
Ismael de Anda III
The Sun Came Out Last Night and Sang to Me
2017, 2 photos each 48 x 96 inches, total installation approx. 48 x 192 inches, Printed Digital Photo Collage
www.ismaeldeanda3.com @ismaeldeandaiii
Growing up on the U.S./ Mexico frontier, The Sun Came Out Last Night and Sang to Me, represents simultaneously being close to and at a distance from a beloved community. These photos are tableaux of fantastical, otherworldly, flying hybrid sculptural contraptions pieced together from family photos of machinery from my Grandparent’s West Texas farm where I grew up as reflected and re-imagined from my new life and home here in Los Angeles. My photo installation is displayed at my neighborhood gym Snap Fitness in San Marino, courtesy of and in collaboration with my good friend and gym owner Allen Cutler.
Megan Mueller
More beginnings, less ends
2020, 30 x 23 inches, Watercolor on paper
www.meganmueller.com @megamueller
I made this piece over the last 27 days, applying one layer of pigment a day.
Sydney Croskery
4 Candles
2020, 72 x 48 inches, Oil paint on vinyl
www.SydneyCroskery.com @sydneycroskery
(South side of street at large vacant lot between Wellington and Virginia, in the West Adams neighborhood of Los Angeles, 90016)
I’ve been thinking a lot about objects, and the power and meanings with which we imbue them. The significance of objects can fluctuate depending on our emotional state, reflecting our feelings back to us like a mirror. When we are mournful, they show us a somber respect; when we are hopeful, they flicker with possibility; when we are scared, they appear dangerous; and when we are in search of a miracle, they reveal magic.
Andrea Bersaglieri
Tall Fescue
2018, 22 x 30 inches, watercolor on paper
www.andreabersaglieri.com @and_bers
(The piece is between the Olive Tree and the Crepe Myrtle near the street)
The formal, conceptual, technical and emotional relationship urbanites have with nature is fraught with contradictions. It is in our nature to find plants beautiful but our evolution is literally squeezing them out of our environment. Will nature's tenaciousness prevail? Which plants will thrive around us as the environment struggles? Will the plants that we now consider weeds become our new cultivars? How does the dirt beneath us feed into and contain these dichotomies? In this Anthropocene era what is the role of “novel ecosystems” and how does that affect our idea of conservation? Is this our “substitute nature”?
Jody Zellen
Grid City
2000, 8 x 8 feet, Digital banners on vinyl
www.jodyzellen.com @jzother
In my multi-faceted practice, I aim to create visually engaging projects that draw from and reference both the media and a physical environment, like the city, while simultaneously presenting them anew.
Jenny Hager
This is My House
2020, 72 x 62 inches, acrylic, marker on canvas
www.jennyhager.com @Hager8645
Interest to me is the investigation of an ambiguous, constructed, and animated space that utilizes open, abstracted imagery in order to bypass or delay immediate recognition. Central to this is the creation of painting as palimpsest through process and reinterpretation in the service of exploring the tension between the explicable and in-explicable, whether it be celestial, spiritual, the natural world, or other. By injecting subtexts through formal elements such as pressure, asymmetrical balance, and the juxtaposition of painting languages, I hope to disrupt the viewer from a set perspective and set them adrift on the double edged sword of wonder.
Chris Trueman
DPW
2018, 68 x 60 inches, acrylic and acrylic spray paint on yupo
www.christrueman.com @truemanchris
In Trueman’s most recent body of work, Shared Space, he continues his exploration into the idea that art will largely be seen through mediating devices; that the vast majority of people who will see these pieces will never share the same physical space with them. And as a result, much of the imagery they are seeing is fictional or at minimum manipulated, staged and falsified much like the avatars viewing them. The foundations of this body of work are an inflection point to abstract painting in its late modern stages.
Kristine Schomaker
My Imaginary Wall
2020, 96 x 25 inches, Round Dot Stickers, Glass door
www.kristinechomaker.net . kristineschomaker
I am a plus size woman with an eating disorder. My work is personal, intense, emotional, violent and familiar.
A dedicated conceptualist and surrealist autobiographer, I address the de(con)struction of self in relation to society’s perception/projection/reflection of beauty. My multidisciplinary work focuses on the complexities of gender identity, body image, and the societal privileging of women's physical beauty over character and intellect.
Inspired by artists such as Gonzalez-Torres, Meret Oppenheim, Baroness Elsa von Freytag-Loringhoven, Joseph Albers and Hans Hofmann, I use everyday objects, mixed media, paint, photography, performance, written word, social media, video, photography and conceptual social practice projects to investigate, document and challenge personal and universal ideas of self and society.
Jennifer Gunlock
Metropolis II
2020, 44 x 44 inches, Mixed media collage and drawing on cardboard
www.jennifergunlock.com @jennifergunlock
Jennifer Gunlock's work explores the relationships between the objects of nature and those imposed upon them by human activity. By layering photographs taken on her travels, decorative papers and drawing, she constructs tree-based forms which are awkwardly fused with architectural motifs. Each composition reflects a long passage of time in which buildings and trees stretch and crumble, each pushing against the other. The work is a commentary on humanity’s direct impact on the environment, as well as Earth’s interminable shapeshifting over the long history of its existence.
Liza Ryan
outside everyday image
2020, Dimensions variable, pigment prints
www.lizaryan.com @lizahryan
Every day for a week beginning on Wednesday, May 13, a different image is stapled to the message board outside of our neighborhood market. These images may provide neighbors with a momentary opportunity to escape and even travel beyond the confines of quarantine.
Mar Vista neighbors can send a text to the number provided on the tear slip below the image to receive a print on their doorstep. Each print is only available the day it is up on the board.
Cia Foreman
Test Strips for Conditions of Light
2018, 43 x 8 inches, Archival pigment print on Hahnemuhle Rag
www.ciaforeman.com @ciaforeman
Catching the light as it permeates or skews an image shifts what we see, interrupting and transforming the experience of our perceptions, expectations, and the stability of what we conceive of as reality.
Kim Abeles
Natural Setting
2020, 12 x 56 x 16 inches, Abeles photograph created in fabric and constructed for bus bench
www.kimabeles.com www.frugalworld.org @kimabeles
My work explores biography, geography, feminism, the environment, and speaks to society, science literacy, and civic engagement. National Endowment for the Arts funded two recent projects: as artist-in-residence at the Institute of Forest Genetics I focused on Resilience; and, Valises for Camp Ground: Arts, Corrections, and Fire Management in the Santa Monica Mountains were made in collaboration with Camp 13, a group of female prison inmates stationed in the Santa Monica Mountains who fight wildfires. I see the inter-relationship between art and community as seamless portrayals of nature and society, serving to re-engage people with the physical world. If one does not love the world, that same person will not imagine a need to protect it.
Ryan McCann
Almost Green
2020, 144 x 360 inches, Acrylic on concrete
www.RyanMcCannArt.com @RyanMcCannArt
This work is from my series titled, “You don’t exist”. The works are created over time when a wall is tagged with graffiti and then painted over by the city. It is someone declaring their presence and then the city declaring that they don’t exist. What remains is the most honest visual in the city. A living journal of push and pull, the need to express ones existence versus the need to quiet the noise coming from below. The battle is real and its evidence is beautiful.
Paul Osiecki Woods
Mr. Borax
2020, 88 x 65 inches, acrylic on cardboard
www.paulwoods.com @paulowoods
Graphic Designer, Illustrator, Artist. My art plays with the iconography and typography we see in the world around us in consumer packaging, TV, political news, advertising, internet, multimedia and reinterprets and plays with those graphic forms and shapes.
Brian C. Moss
Shared / Divided (July 25, 2014, NY Times)
2020, 75 x 120 inches, graphite on vellum
When viewing my work, the buildings behind you are comprised of condominiums (referenced in this URL <http://patch.com/california/santamonica/350-million-village-will-resurrect-neighborhood-vibe#.U9b6yKi9sXg>). My drawings are situated in a building for low to moderate income individuals built by the same developer, partly in exchange for tax breaks. Our rents are determined by HUD. While we “share” the alley, we have separate gated entrances within a shared garage.
Dimitra Skandali
"mumbling..."
2019-2020 with the assistance of Ali Woods, 53 x 36 inches (approx), wire, sea grasses, hologram paper
www.dimitraskandali.com @dimskandali
weird worlds-weird words –
...
mumbling during turmoils of our times.
Joe Davidson
From a Distance (Signposts)
2020, two elements @ 60 x 18 x 18 inches, Tinted plaster on construction timbers
www.joedavidson.net @jfcdavidson
In the end, gravity always wins. It is the blunt, immutable force that has a constant effect, keeping us on the ground and ultimately pulling us into it. Sculpture by its very nature is in conversation with this pull, at times enjoying and acknowledging it, and at times trying to hide and defy it. My work recognizes the force of gravity, sometimes tacitly and sometimes overtly. It is a practice of mixing the delicate with the ordinary. I have been mining the contrasts of sculpture, relishing the materiality while also attempting to address the ephemeral.
Stephanie Sabo
Will Return
2020, Dimensions variable, Mixed media
SPECIAL HOURS: Light projection viewable nightly from 8-10pm
roski.usc.edu/community/faculty/stephanie-sabo
Installation courtesy of Pop Hop Books & Print
Will Return is a poetic reflection on the character of time as experienced during social distancing. Based loosely on the mass-produced “Will Return” sign placed in windows by many small business owners when they need to step away for a few moments, the work acknowledges how the unpredictability of the spread of the virus, and the resulting uncertain timeline to get ‘back to normal’ (economically, socially and otherwise), is exacerbating underlying social vulnerabilities, political partisanship, and wealth inequalities that predated the crisis. The deeply human longing for “return,” expressed through the Christian and Islamic traditions awaiting Jesus/the Mahdi, and through other ancient beliefs in reincarnation or eternal recurrence, can simultaneously soothe our anxieties and become a foothold for powerful manipulations that invoke nostalgia.
David Buckingham
SHUT UP
2015, 44 x 27 x 2 inches, Found steel, original colors
www.buckinghamstudio.com @buckinghamstudiodtla
What I’m doing is converting the window in my Santa Fe building to a mini-gallery space. The window has been covered for the 20 years I've been in the building, and whole neighborhood has suddenly got a name (the “Southern Arts District”) and it’s time to come out of the shadows. For as long as we can hold on against the relentless gentrification.
Jaklin Romine
Why Bring Me Flowers When I'm Dead? When You Had Time To Do It When I Was Alive.
2019, 180 X 120 X 24 inches
Fabric dipped in resin, digital sublimation on chiffon
www.jaklinromine.com @jakioeoeo
Digital sublimation of flowers, creating fabric sculptures out of lace, iridescent organza, and chartreuse, that are mounted behind or lay beneath a protruding fabric print, creating an abstraction of flora that allows for the breaking of reality and the dream-like. Which allows the art to float between installation and sculpture. Pushing photographic imagery into the third dimension
Arezoo Bharthania
Little Cactus Garden
2020, 40 x 82 x 20 Inches, Acrylic, collage, transfered image, tracing paper, yarns
My work reflects the experience of creating a home while existing in a state of in-between. It is a narrative formed through layers and gestures that blend my childhood and early adulthood in Iran with my current life in Los Angeles. The space I occupy is navigated through the bodily experience of womanhood and a balance of dichotomies: public and private, psychological and physical environments, here and there.
The homes that I have inhabited across geographies represent a multilayered construction of identity influenced by interdependent forces that define roles, govern behaviors, and order power relationships. The Iranian identity I carry in the United States relies heavily on my history as an immigrant
Elizabeth Preger
THE REVOLUTION WILL NOT BE MONO-LINGUAL
2020, 10 x 8 inches, Laserjet print
www.elizabethpreger.com @elizabethpreger
Done in collaboration with Lusi Ajonjoli, 'THE REVOLUTION WILL NOT BE MONO-LINGUAL' is found on utility poles on a residential block in McArthur Park. Central questions to my practice are “Who is speaking?” “Who is listening?” and “Why?” Language, understanding and translation are inexorably a part of this questioning. This piece is a protest poster demanding more of myself and others.
Michelle Carla Handel
Ghosted
2020, 12 x 11 x 6 inches, Digital prints, board
www.michellecarlahandel.com @michellecarlahandel
I work from a curiosity about the parts of existence we experience but don't fully understand. I combine materials like plaster, rubber, wax, clay, photography, textiles and other media to create illusionary, surprise-and-disguise material effects. Works are often a mixture of hard and soft, a combination of rigid parts and upholstered fabric elements. I copy, duplicate, and integrate 'do-over' parts to create layered content which confuses distinctions between what is real and what is simulated. Where I incorporate photography, there may be the added effect of moving back and forth between different levels of space, playing with current notions of meta and the self-referential.
Duane Paul
this is not a golden sacred cow
2020, 36 x 24 x 24 inches (approx), Canvas, industrial foam, enamel paint, hydrocal cement, wire, construction cord
www.duanepaul.com @duanepaul
My work is concentrated on the fractured, fragmented memories of childhood, strung together and conflated by my adult reflection on the past. These expressions are largely derived from being an Afro-Caribbean immigrant, and a gay man living within the Black American experience. My process and practice is “play" - that is based in the making of narrative, yet abstract objects I create by physically manipulating elements shaping a unique visual language of memory and material. I build layers and layers of material and meaning into mostly sculptural records documenting the exploration of concerns. The joy of “play” aids in my investigation and use of material when in the studio and that sense of play is embedded in the objects and images I produce. Somewhat like Legos, my practice is to hand craft and create modular objects used as building blocks for my constructed sculptural conversations.
Greg W. Schenk
untitled
2009, 120 x 120 x 120 inches, Mixed media
www.facebook.com/greg.schenk.33 @schenkgreg
Fundamentally concerned with the noetical and phenomenological implementation of art with technology. Employing COTS, design specific media and alternative contexts to create shit you've never seen before.
Dave Bondi
Ars Moriendi
2012 - 2014, 6 x 6 inches each piece, 20 pieces, Cardboard, polyurethane resin, black widow spider
www.davebondi.com @davebondiart
In September of 2011 I moved to Highland Park just a few months before Mike died. I remember when we bought our house thinking how strange it would be to run into him at the local Von's or Trader Joe's. Mike had a huge influence on my artistic development and I was extremely sad when I heard he was gone. What was even more startling was the mention in the media of tributes being brought to his studio on Figueroa and Annan Way. Our house is on Annan, less than a block away. I knew it was a mere coincidence, but haunting nonetheless. I decided to create my own tribute to Mike called "Ars Moriendi" and made approximately 30 pieces over the next two years. A discussion of my rationale for creating the series can be read in this issue of Fabrik magazine:
Abel Alejandre
Street Fighter
2018, 11 x 17 inches, Print
www.abelalejandre.com @abelalejandre
I look for problems and I leave them unsolved
Gavin Bunner
Found Dog
2020, 8 × 11 × 1 inches, Ink on paper
www.Gavinbunner.com @gavinbunner
Where Americana, Pop Art, and Where's Waldo all meet
Tracey Weiss
Essentials
2020, 36 x 36 x 24 inches, TP rolls and twine
www.traceyweissart.com @traceyweissart
Our society is consumed right now with needs vs wants. What are our "essentials"? Who are the "essentials"? While some are fighting and hoarding, others are slowing down and reflecting. Funny enough, all through our first month (or more) the essential on everyone’s mind was toilet paper. A simple everyday item that we couldn't fine, never thought of much before, and became obsessed with all at once. Using a material that brought us so much joy when we finally found it in the stores, I've created an installation that will hopefully bring a little joy, wonder, and maybe laughs.
Juri Koll
Chumash Katk Z 1-3
2020, Triptych 9 x 12 inches each, Oil, ink and watercolor on board
www.veniceica.org @veniceica
Using a Chumash petroglyph drawing of horse and rider as a motif and color and organic geometry as my language, I work towards a feeling of motion, of searching for a resting place, of traveling with a story to tell, of transporting meaning, in the sky and on the earth
Constance Mallinson
What Now?
2020, 60 x 60 inches (approx), photo collage on plastic objects
www.constancemallinson.com @makepaintinggreatagain
This installation consists of discarded plastic objects affixed with photos of endangered species and environments. The signage will say that the plastics were retrieved from this neighborhood and altered with the pictures to remind passersby of the impact of one time use plastics in our globalized world. The pieces are free for the taking.
Sarajo Frieden
Untitled (1147)
2019, 87.5 x 44 inches, Acrylic on muslin
www.sarajofrieden.net @sarajofrieden
My work is a conversation, an exploration of color, shape, line, and form. I experiment with different mediums and employ a variety of methodologies--collage, cut ups, juxtaposition--as a way of incorporating chance and cultivating surprise. I’m a hunter and gatherer of images, mining the organic and man-made, the history of abstraction, textiles, non-Western cultures, and digital imaging, to bring together a multiplicity of discordant sources. I attempt to locate new ways of knitting together disparate references while questioning how perceptions are created. A fluid relationship with the idea of what beauty can be--stumbling or walking backward into an awkward beauty--is what interests me. This way of working is useful in opening doors, dislocating preconceived outcomes, and enabling shifts of perception and the limitless possibilities they suggest.
Ryan Russell Ward
Untitled
2020, 14 x 62 inches / 16 x 39 inches, Installation
www.instagram.com/ryanrussellward
These buried/planted Pews are reclaimed from Immanuel Baptist Church (1922) off 3rd and Obispo in Long Beach, CA which was renovated in 2015 to a Senior Living Home, represent not only life and death but the hope and love in these trying times. Please be encouraged to leave a note or prayer for loved ones.
Makenzie Goodman & Adam Stacey
A Shrine to the Old West
2020, 48 x 24 x 24 inches (variable-installation), ceramics, photography, wood, etc.
www.makenzielgoodman.com www.cargocollective.com/adamstacey
The story of the rugged American West, expansive and free, where individualism, masculinity and bravery reign supreme, has been branded onto our collective imagination, a movie projected onto the backs of our eyelids that we’ve all seen. In those Westerns, the hero, almost always a white man, renounces the safety and structure of civilization for the wilderness. This is the fantasy we’ve been told over and again.
This piece presents the myths and icons of the West as a fallen shrine amongst litter in a doorway of an L.A. warehouse. Our true West is dirtier, its meaning is more difficult to discern.
Jenny Rask
The Social Life of Objects
2020, Dimensions variable, QR code, Instagram, photography, and writing
www.jennyrask.com @jjennyraskk
USE GOOGLE MAP FOR OTHER LOCATIONS https://www.google.com/maps/@0,-0.0021887,17z/data=!3m1!4b1!4m3!11m2!2sUpWcCEFFRnyPX6EPtKxMhw!3e3)
Breaking one of many worry loops I experience daily isn’t easy, especially those fueled by frequent discoveries of neglected objects during routine walks. Concerns for them crop up unexpectedly while I am elsewhere. How are they doing? What is their life like? Will they change? What will they acquire? What will they do next? Who loves them? What will become of them? Where will they go? Will they be there tomorrow? The recent trend in social media for objects has really paid off and minimized any unease caused by worry. Following and receiving status updates feels inclusive and is reassuring. Social media has really improved relationships between objects and humans and objects alike.
The Social Life of Objects study will focus in on several subjects found in East Hollywood within the radius of a block. Follow the coordinates to the each object's location, scan their QR code, connect and follow.
Jeanne Dunn
Mid-Century Jazz
2020, 13.5 x 17 inches, Recycled photos, album covers, collage on paper
www.jeannedunn.net @jeannedunnart
Recently I was invited to glean what I liked from a friend's 78 rpm album covers. It was a trove of vintage design done in exciting bold contrasts. The covers begged to be taken apart and reassembled as a unique testimony to the spontaneity of jazz. Hours later I'd created this collage: "Mid-Century Jazz."
Susan Feldman
Quaranteeny Avenue
2020, 3 x 48 x 5 inches, mixed media
www.susanfeldmanart.com @susanfeldmanart
My neighborhood dispensary has held a special place in my heart for awhile, and now, during this stay at home order, it's been extra beneficial. I've been working in the studio on a project called "MOC" (My Own City) for the past year, and while that is a work in progress, I welcomed the opportunity to create a "Mini" MOC Avenue for this exhibition. Euphoric seemed like the perfect place to set the scene for my version of our quarantine hubs. Seems like a win/win. Don't forget to stop in and say hey to my sisters there.
Flora Kao
Sentinel
2020, 5 x 10 x 2 feet, Bougainvillea and twine
floratkao.blogspot.com
Sentinel features two bougainvillea plants mummified in hot pink twine. The two plants are connected by a crocheted skein of twine twisting around the canal safety barrier. Blindfolded and tethered to the bougainvillea, the artist circled and wrapped each thorny plant in a ball of Asian packaging twine. The installation explores the connections between people and plant, touch and sight, artist and audience. Originally from South America, the bougainvillea is a ubiquitous signifier of tropical color. In East Asian legend, a red string of destiny connects those who are bound to meet in significant ways. Connecting two figures on either side of a barrier, Sentinel visualizes the connections that intertwine, entrap, and bind us together.
Marla Smith
untitled
2020, 8 x 10 inches Ink on paper