calls for art:


Call for Art, Open internationally, All media considered

Juror Leisa Austin, Imago Galleries

May 7– June 11, 2016


Delivery/shipping April 28th-May 6th, 12-5pm
•artist is responsible for shipping costs to and from the gallery. Please include return paid shipping label

Pickup Sunday: June 12 12-5pm


Featured Artists:

Eva Andry, Victoria Ayres, Mariona Barkus, Joseph Begnaud, Gar Benedick, Richard Bohn, Chuka Susan Chesney, Erik Deerly, Ludmil Dimitrov, Carolyn Doucette, Elizabeth Dove, James Doyle, Suzanne Firstenberg, Rachel Fry, Sandra Gallegos, Carlos Grasso, Cristina Guadalupe Galvan, Karen Gutfreund, Richard Helmick, Derrick Hickman, Ericka Hoffman, Kelly Hoffman, Mark Indig, Marina Joyce, Chris Justice, Kirk Kain, Sherry Karver, Paul Kelley, Colleen M Kelly, Dawn Kramlich, Ingrid Lahti, Mario Laplante, Barbara Lekus, Kate MacDonald & Les Sears (K8L35), Stuart McCall, Trevor Messersmith, Janet Milhomme, Greg Morrissey, David Orr, Steven Roberts, Cate Roman, Nancy Roy-Meyer, Kathy Rudin, Gareth Seigel, H. Jennings Sheffield, Kathryn Shinko, Nicole Stahl, Charley Star, Dafna Steinberg, Felis Stella, Susie Stockholm, Nishiki Sugawara-Beda, Bethany Taylor, Renee Ward, Jeff Williams, Everett Williams, Nancy Wolitzer, Kathrine Worel, Carolyn Yarnell


1. Eva Andry
"I Fear the Day..."
Oil on canvas. 40in x 40in x 2in

The painting I'm submitting is one of a series I did under the theme: "Cell Phone Zombies." The theme of “cell phone zombies” arose from the silence and alienation I’ve felt while surrounded by people looking down at their cell phones ignoring the world around them. I wanted to show the isolation, even in groups, that the overuse of cell phones creates. Although there are certainly benefits to this relatively new technology, when human interaction is replaced and neglected it becomes a disturbing and dangerous trend.


2. Victoria Ayres
My Body's Words
thread, gampi paper, text, wire. 53in X 18in
Not for sale

I remember being struck as a little girl, during an excursion with my Mother and sister to the Los Angeles County Museum of Art, seeing Georgia O’Keefe standing next to a wall displaying her art at a solo exhibit, by the idea that you could have that much color and magic in your life.

That magic still inspires me as a developing artist, and I am still inspired by Georgia O’Keefe along with the works of Kathe Kollwitz, Jim Dine, Odilon Redon, Sigmar Polke. The themes I work with are beauty, nature, and contrasting elements such as the yin and yang of bold and delicate, grounded and ethereal, practical and imaginary. I aim to continue to work with my quality of line and the way it lends its own voice to the whole image.

In my current work using silk/cotton thread panels and stressed tissue paper, which overlay the figure and elicit a sense of masking or covering over, the viewer sees only parts of the image. This work speaks to the layers of experiences, both painful and affirming, that mold who we are and who we become over time. I am interested in how our human persona is shaped, both unconsciously and consciously, by our beliefs, in ourselves, in each other and in life, with often forgotten, long-past experiences, being the foundation of these beliefs.

Deep within me lies the hope that this “shadow” in our human nature, personally and collectively, be expressed and worked through, guiding us back to our wholeness, as the fragmented parts have their voice too.

Through my artwork, I am reminded of the opportunity to see beauty in our flaws, in our scars.


3. Mariona Barkus
Coming To Your Senses
vinyl letters on acrylic on paper. 25in x 33in

4. Mariona Barkus
My Evil Twin
mixed media. 19.5in x 11in x 10in

For me painting is a form of meditation, staying in the moment, letting the painting unfold and reveal itself, leading me wherever it will go. The forms that appear as I apply paint guide me. I act as conduit, trying to capture the ineffable.

Stare a while at the sheer abstraction of Unknown 28 and you may begin to see human figures with raised arms, an opening in the distance — a vision of heavenly paradise?


5. Joseph Begnaud
oil on canvas
18 x 22 inches

I rely on the human form as a vehicle of emotion that either establishes an immediate reflexive empathy with the viewer or piques some voyeuristic curiosity. People are ultimately unknowable in their depth and complexity, and I wish to recreate some small part of this mysterious interaction through painting. This painting is intentionally obscure, both in the controlled contrast of light and shadow and in the opacity of using a Polish translation of the title.


6. Gar Benedick
Crayolors on the Loose - Abstraction 3605
Photograph - Giclee print on Aluminum. 20in x 30in

7. Gar Benedick
equals 5? - Abstraction 3511
Photograph - Giclee print on Aluminum
20in x 30in

My passion in photography, and in life, is to make the invisible, visible. I take the everyday ordinary patterns in life and changes the way we see them, the way we feel them. I was originally drawn to photography when I was very young falling in love with the notion of stopping time.

I studied Landscape Architecture at Penn State University and self-taught in photography. From there I worked in photography, design and media production for over 35 years.

Even though photography has always been a creative outlet for me, today I am more interested in pure art from the camera, exploring other ways of seeing the world through a camera lens. I am always looking for what the camera can do when I give it free reign with no expectations.

My images are created in the camera with only post processing for color. I love what I do!


8. richard bohn
Guitar Case 1985-2016
guitar case with stickers and collage. 18inx44inx6in

9. richard bohn
Lucky Strike
digital output. 24ftx36in

Are we meant to be on a planet orbiting a sun.
Are we meant to fly or swim or go as fast as we can.
I'm meant to be anywhere I can get to know. As long as I'm having fun.

I could have been born a whale.
Or have a bird sitting on me 'cause I'm a rock.
I'm wondering how I came here to write this word.
'Cause I feel good walking a long lost trail.


10. Chenhung Chen
Reading Tao Te Ching
Pencil, color pencil, summi ink, acrylic, paper clip, staple, text on paper & dura-lar. 34inx22in

In my work I focus on line, always recognizing its presence within drawing, Chinese calligraphy and painting, and American Abstract Expressionism. I appreciate the linear qualities inherent in nature. Through the use of line, I try to express feelings of delicacy, buoyancy, suavity, motion, power and strength.

Within the creative process from my urban recluse experiences, I express the sense of force, inner existence and endless life through drawing and sculpture/installation. My 3D work is composed of recycled materials including; copper wire, electrical wire and components, and some found objects.

My work is about harmony and dissonance, peace and chaos, the beautiful and the grotesque, the subtle and the powerful. It is also about the driving force for inner fulfillment, balance, meditative process, human internal structures, the transitional human condition, and experiencing the inner power. I feel the realization, understanding, and experience of “Wholeness” or “the Self” which makes this sometimes melancholy and solitary existence complete.


11. Chuka Susan Chesney
Geraldine's Dream House
watercolor and pen and ink on watercolor paper. 24in x 18in

12. Chuka Susan Chesney
Sister Cancer
mixed media on watercolor paper. 18in x 24in

I am submitting two watercolor paintings and a photograph to Water Works II. I created my paintings on rainy days. "Rainy House" was painted at the Arboretum in Arcadia, CA and "Storm" was painted in Echo Park in Los Angeles. I like to see just how wild and free I can be in my painting style, yet at the same time hold on to a few rules of composition and balance. I like to scratch into my paintings with a happy kind of anger or drizzle glue where it doesn't belong.

On the other hand, photography is a brand new medium for me, and I love it. If you take enough pics, one is liable to turn out really well. I took this picture in the courtyard of the Mission at San Diego. I kept trying to photograph the entire fountain but I was only able to capture its personality when I cropped off the top of it. The water in the fountain reflects trees and sky and stucco with thousands of tiny flecks. The flecks half cover the pattern of tiny shiny tiles at the bottom of the water so beautifully.


13. Erik Deerly
156 Experiences For Active Contemplation: Thought | Action
web-based work / infinite run time

Erik Austin Deerly works with still and moving images, sound and text to create visual and interactive work for print, web, performance and installation. He also scores soundtracks for film, dance, and video. He shares a one-acre farm house/art studio with his artist wife. Recent exhibitions include three regional galleries, twelve national exhibitions, and four international exhibitions. In addition to his new media, his credits include ten full-length music record releases, eight video shorts, a full-length independent film soundtrack, three collaborative dance scores, two multi-screen video/audio installations. Erik is Assistant Professor of New Media at Indiana University Kokomo.


14. Ludmil Dimitrov
Letter 'X' photo collage
Digital photography. 24inx22in

Recently I begun to draw digitally over some of my own photo images. I discovered lately the creative joy of challenging myself when I am going back sometimes to my new or old closeup images to see if I could some how additionally enhance them digitally.

Keep in mind that I use and manipulate digitally only my own detail closeup photography! And I started calling them: "Digitally enhanced photo collages"


15. Carolyn Doucette
Tented #5
Acrylic on archival inkjet print. 26.5 x 40 inches

16. Carolyn Doucette
Tented #10
Acrylic on archival inkjet print. 26.5 x 40 inches

My work and research concerns the connection between humans and nature, the ecological implications of a nature/culture dichotomy in Western thought paradigms and the natural landscape vs. the "sublime" landscape.

In my series, "Tented," I use acrylic painted emoticons to comment on photographs documenting houses wrapped for fumigation, questioning our use of pesticides and insecticides as a way of dealing with the natural world.


17. Elizabeth Dove
Corpus of the Unknowable: learn
paper, print, cut up dictionary definition. 8in x 8in

These prints express the insufficiency of language alone to communicate personal experiences. The layered letters and text dust represent the inability to forge or decipher meaning despite the possibility of doing so: a yearning, a lacking.

The project "all letters" was produced by printing etchings of all 26 letters, one atop another, to form in a single merged graphic icon. This text composite suggests possibility – the possibility to say anything and everything – but the static compression of layers of black on black ink thwarts any specific communication.

The prints "learn" and "language" are from a 100-word project called "Corpus of the Unknowable". For this project cut up dictionary definitions letter by letter, and collected the resulting pile of individual letters trapped in a pocket behind a translucent sheet of printed paper. The letters remain loose, each piece is almost like a blister. The cutting mirrors the action of comprehension; the notion of cutting up is a reminder of how we subdivide and categorize in an attempt to understand, to learn, and to control. <br>


18. James Doyle
Strategies for Survival (or How to Be Human on the Job)
Archival Pigment Print. 12x16in

Strategies for Survival is the title of a collection of "how-to" manuals published in the post-war era and photographed by the artist. The books highlight American cultural anxieties and curiosities of the mid-twentieth century, covering survival tactics which range from comical, economic, to nuclear fallout. Displayed is the artist's personal collection, and investment in these materials that have become obsolete in the digital age.


19. Suzanne Firstenberg
After Cadmus
graphite. 40inx28in

I am an accidental artist. One day, I sat down at a throwing wheel to try ceramics. The clay, harboring no inclination to become recognizable as a vessel slowly molded itself, instead, into the bust of a pensive woman, lips parted to speak. I watched her emergence at my hands in amazement.

I was utterly intrigued by this inner artist self who had been quietly lurking&mdash;unannounced&mdash;through years of business and intellectual pursuits. How can we know ourselves so well and yet stumble upon facets never previously glimpsed? That so much can lurk within, unknown, provokes me to create. I seek to make the known feel unexplored, to take the viewer on a sideways journey&mdash;exploring duality and reveling in the tension of competing realities.

Certain areas of interest spring not from personal experience, but from an inexorable belief in one&rsquo;s right to dignity. Art can open the door to reason, and gently usher it inside. Certain themes knock insistently: the complex layers of humankind, the singularity of human existence, and our relentless struggle with time. Much of this had become embedded in my psyche through almost two decades of volunteering with the terminally ill.

My hospice work and late acquaintance with my artistic self drive me to create, to express thoughts that are bubbling up caldera-like in their heat and scope. You will not find twelve renditions of the same piece, nor a series of attempts to say the same thing. There is no time, yet I have much to express.

Different concepts require varying materials to best be captured in sculpted form, thus concrete rubble, and bronze do my bidding, along with wood, clay, snow, ice and stone: mastery of few succumbs to the expressive range of the many.


20. Rachel Fry
My Font Choice is Bitter
found digital images, digital collage, original poems. Viewable on mac products
15 minutes
free on ibooks

Maybe tumblr is like a scrapbook for millennials? At least, that's part of what my work is trying to figure out. On one level, I want to know how the internet has impacted poetry. I think Dril is a really great poet, but I also still low-key fuck with Sylvia Plath and I wonder if that makes me a bad intersectional feminist. She was kind of super racist tbh but like I also Crave Death and Am Mentally Unstable so...there is that. I think that recontextualizing Sad Girl Tumblr aesthetics in a fine art context can spark critiques or productive discourse about what it means to be not a girl, but not yet a woman in this day and age. On a different level, I use my work as a vehicle to regain agency over my personal narrative and validate my experiences, specifically in terms of relationships and illness both physical and mental. Via performances and artifacts, I document my personal history while also linking this history to others who have entered or exited my life. Visually, all of this is executed in a way that is highly influenced by online aesthetics. These online visuals that act as the vehicle for my work are an access point to those who may not know the intimate context of my work. By first entering the work aesthetically, the viewer can then engage with the narrative happening in the work.


21. Sandra Gallegos
I don't understand
paper collage. 4.25 inches X 4.5 inches

22. Sandra Gallegos
The Man had Escaped
paper collage. 4.25 inches X 4.5 inches

My collages use pages with text recycled into narratives using images from my collection.


23. Carlos Grasso
The Very Last Question
Foamboard, cloth, wooden sticks, isolation foam, wood panel as support. 48 x 36 inches

As artists, one of our roles is to be the eyes and voice of the underlying processes that govern the individual (the artist him/herself), the collective (society at large) and nature as a whole. A single piece of artwork is a blueprint of a larger web of interconnections.

My work is an exploration of this apparent relationship between the outer, concrete, material world (our body)and the inner, subjective, psychological reality (our mind).


24. Cristina Guadalupe Galvan
About Time_ a poem by Andy Warhol
kiln casted glass, plexiglass and metal . 34in x 92in
private collection

Words as Sculpture is the concept behind two of the works presented here (#1 and #2), which consists of text made out of hand made casted glass that I?ve developed through a kind of ?Lettermold? workshop. Many steps are necessary to create the written work; from the molding in silicone of the original plastic magnet alphabet bought at the dollar store, to creating the waxes, then the plaster and silica molds out of those, steaming then the waxes away, to firing, polishing and finally installing.

The name for this body of work comes from Carl Andre?s famous statement: WORDS AS POEMS / MATTER AS SCULPTURE. It?s a bit of an iconoclastic take on, since for Andre (whom I really like) it meant not to mix the two. Words were poetry and not sculpture (of course he was saying it in the context of his own work). I just found funny I am doing quite the opposite. That's why I decided to call this body of work: Words as Sculpture.

I feel more in tune maybe with Robert Smithson who talks about 'LANGUAGE TO BE LOOKED AT?. And he had his own critique of Andre?s written work, which he thought not to be so poetic after all. But another discussion ?

What you see first when confronted to this body of work of mine, it?s not semantics, but color and matter. The text comes right after, in a second layer of meaning (central to the work as well).

The inception of each project starts with the text, so far always appropriated, for different reasons in each case. Once the text is decided then color comes into play, and plays with it. It is really a conversation between words, color and form.


Work#1: Glass Poem #1 (secret messages): find David Bowie (Space Oddity) in TS Eliot (Burnt Norton, Four Quartets) (2015)

This is the first work done in this technique and the most ambitious as well, comprising 1.421 characters. It's a combination of two texts, a more pervasive one, a fragment of TS Eliot's poem Burnt Norton (Four Quartets) and a fragment of David Bowie's song, Space Oddity, scattered in the poem. The excerpt of the song is revealed by changing the colors of some of the letters of the poem, thus can be read like a coded message. In order to read the song you will have to follow the colored letters among the green text; starting with the pink, then the blue (after you read all the pinks) and ending with the yellow.

This classic poem, a gem of modernism, is one of my favorite poems, expressing with such delicacy the nature of time and its fugitive quality, equating reality only to the now, which is 'eternally present'; life being just that moment we are constantly living.

The hidden song, another classic and gem, this time, of Postmodernism (and even more famous due to its popular context) is for me the perfect representation of Space and its infiniteness.

By combining the two texts about Time and Space, a very personal image, or feeling of being alive is revealed. Life being that constant present which is infinite as the Universe and where we are lost like that poor astronaut with the only certainty of our imminent death.

But the combination is also a play on canon, leveling the importance of Modernism and Postmodernism, and leaving behind that old distinction of high art and popular art. Good is Good and Bowie a classic as much as TS Eliot.


Work#2: About Time _ a poem by Andy Warhol (2015)

About Time might be the only poem ever written by Andy Warhol and you can find it in his book The Philosophy of Andy Warhol at the end of chapter 7, Time. When I read the book I had already done the TS Eliot-Bowie piece, a personal image of Time and Space through text appropriation. This just seemed like a very organic continuation. I stumbled upon it.

The color here is very straightforward, black for Time (for obvious reasons) and red, white and blue for the rest. As he would say: 'very American! The composition on the wall is also his, how he wrote it on the page.

It is interesting for me as well to present a poem (since poetry is thought of as an elevated creative expression) by Andy Warhol, the king of Pop, making a stance on the illusory distinctions in creativity. Pop is classic, poetry is pop. But he already knew ..


Work#3: The Love Tombs (2015)

24 granite standard granite tomb stones (2' x 1') with pop songs about love engraved in their standard cemetery roman font. 12 in grey granite with songs about lost love, 12 in pink granite about the celebration of love.

A project about the implacability of love.

(I would love to show the granite pieces but I am afraid I cannot afford the shipment ? So I am presenting here 3 of the pictures I am developing of the stones in context, in play with the meaning of the sentence and its location).


25. Karen Gutfreund
Come To Me
Mixed media on board. 40 x 52 inches (framed) painting 36 x 48 inch

26. Karen Gutfreund
This Too Shall Pass
Print on aluminum, epoxy. 20 x 20 inches (framed), piece is 18 x 18 inches

Brief, deciduous, ephemeral, evanescent, flash, fleeting, momentary, fugitive, impermanent, passing, short-lived, temporary, transient, transitory -- these emotions that connect us to the situations of our lives and determines where we go in creating alternative realities.


27. Richard Helmick
Words are Palpable
painted button plugs on ink jet background

My work investigates semiotic relationships between natural language symbols (Braille) and other objects (frames, fur. etc.). The works are erotic in innuendo, relying on touch more than sight. For example, fur is tactilely inviting and Braille is haptic in nature. Once viewers yield to the furry invitation, they come upon the Braille message and discover they are engaged in something naughty.


28. Derrick Hickman
acrylic on paper. 9.75
$ 400.00

My text based paintings build upon the theme of myth vs. memory, which has been the focus of past paintings and sculptures. I have used the process of story telling to introduce the viewer to my own memory and its conflict with self perpetuated folklore, as it is related to my development as an artist.

In these paintings, I have literally projected text onto the canvas in an enlarged diary form. These snippets of personal narrative have been abstracted through color patterns and text distortion. Despite the scale, visibility and appeal of color, the abstractions are meant to obstruct. It gets between the audience and the story, much like the way romanticism, ego and drama tend to taint recollections.


29. Kelly Hoffman
Letting Go
Found objects and cast aluminum
32in x 13in

My vocabulary of expression through Tableau sculpture is repeated symbolism of shapes and handwritten text to embody the situations, conditions, and encounters of life’s dilemmas. Furthermore, the house shapes have been used to symbolize the structure that inhabited the changing dynamics of my life. The human forms depict the individual roles within those changing dynamics and the circles are used to identify the changing dynamics of my relationships with them.

My passion for making art has lead me to explore many kinds of expression and material, particularly the use of recycled objects. My fascination with this media can be traced back to my childhood.


30. Ericka Hoffman
Meow: A Story of Free Thinking
Oil, Caulking, Marker, Plastic Meow. 24inx18in

Blurring the lines between the reality of things and the metaphor of things. Layering over and over, peeling back each piece, and starting over again. The process becomes more important than the end result; yet, the end result contradicts the process in being evident of the purpose of the process. Starting from one beautiful disaster to the next, each piece makes up one entry into a diaristic melodrama.


31. Mark Indig
Hahnemuhle Museum Etching paper. 12x18 (19x25 framed)

As a former movie location manager, I developed a passion for the urban landscape and all the modern issues it intersects and touches.


32. Marina Joyce
Mohair boucle yarn, Acrylic yarn, Cotton warp, cotton chenille fabric . 24in x 12in

Stereotypes intrigue me. Are they shortcuts to understanding or do they narrow our understanding to mere slits. Although textiles are not my usual medium, I chose to weave this series because, in this case, I believe the medium really is the message.

These sculptures are part of a series that explores the labels we place on people. Labels that follow stereotypes of race, gender, sexuality, etc. follow predictable clichés. My years working on branding taught me that a brand is no more than a stereotype, in some cases rebelling against the stereotype IS the stereotype.


33. Chris Justice
Save Humanity
Artist Proof Print of Paper
12 X 16

The work is an embracement of my inner madness manifested in reality. It is executed with a strong sense of urgency. I do not create out of choice, I create out of obligation. In simpler terms, the art chose me. I am a strong believer in the notion that art imitates life and vice versa. My work reflects on modern American nostalgia (but not limited to America only) clashing with my functional hoarding of three dimensional materials such as newspapers, magazines, and my beloved collection of tattered American flags compiled from my travels through the southwest. I enhance the work with an array of foreign art materials such as gasoline, beer, fireworks, and flame. Inspiration is a constant trance that surrounds my being. Overwhelming yet liberating, inspiration is something that I live firsthand; therefore, it is what I am. My world is processed by color, which are the most fascinating entities of life, and the paintings exist in a world of their own. What’s exciting about the abstract process is that I am creating something that does not previously exist in the world and not only giving it life, but giving it purpose. The purpose of the work is to tell a story.  Although I create these works with a story in my heart that represents an experience held significant to my being, it is the viewers job to create a story significant to theirs. It takes immense discipline to allow my paintings to have a mind of their own.


34. Kirk Kain
Power Station
Acrylic paint, image and text transfer. 20 x 16

Artist Statement- Kirk Kain

My work is often an exploration of the juxtaposition between fantasy and reality, using reality as a reference but not a conclusion, often incorporating whimsy alongside a darker element. I also am interested in any image I see as beautiful, that inspires and connects with the viewer, evoking a certain mood or context. My work often has a sense of hush or silence, but for me, a stroke of the brush that engages, asks you to look more deeply, or examines the underpinnings of a work is a successful piece of art.

My journey continues to evolve and mature, embracing new styles, new medias, and possibilities of expression. I primarily work with acrylic on canvas but have started exploring new media, such as alternate canvas preparation, cardboard, found objects, and ceramics.

My goals are to continue my journey and growth as an artist, and to remain vigorous, creative, and daring.


35. Sherry Karver
Unfinished Stories
Photo Images, Text, Oil, Glitter, & Resin on wood panel. 30inx40inx2in

36. Sherry Karver
Meandering Through History
Photo Images, Narrative Text, Oil, & Resin on wood panel. 40inx24x2in

37. Sherry Karver
Anything Is Possible
Photo Images, Oil, Narrative Text, & Resin on wood panel. 30inx25inx2in

I began writing text over some of the figures in my photos as a way to personalize or individualize people, and make them stand out from the crowd. These brief stories about the figures are from my imagination, based solely on their appearance or stance. By using text in my work, it adds another layer, and gives the viewer a chance to “experience” the artwork, and become part of the process by reading it. There is a light humor to my work but I ask the spectator to go further and deeper. I want them to dissolve the narrative and address the experience.

I superimpose these ”biographies” on top of the individuals, almost as if they are wearing their stories like an article of clothing. I try to give a little bit of history about the person; where they are from, their age, what they do, their hopes, their dreams, and often something embarrassing or personal that they would rather not have revealed. The figures are often caught in movement, conveying our individual journeys, where we are all "collectively alone".

Now more than ever I see a connection between photography and history, particularly in the type of ‘street’ photography that I am engaged in, because it documents and captures the present moment. This has led to my interest in juxtaposing contemporary people with ancient sculptures at The Metropolitan Museum in NY, and writing text onto the sculptures as well, giving them anthropomorphic qualities, and insight as to what they might be thinking today.

I have always lived in large cities, so my work is informed by the multitude of issues we encounter living in a metropolitan area: loneliness and alienation in our fast-paced society, the concept of personal identity and the loss of it, the passage of time, the individual as part of the crowd, and how we can stand out from the ‘sea of sameness’, since we each have our own unique voices and stories to tell.


38. Paul Kelley
COLD HARD FACTS - Installation View
Video Projection and Ice

I'm interested in the idea of expanding perception.

My primary driving force is to take ordinary items, objects and materials that make up a portion of our everyday surroundings and turn them into subjects for focus and attention. The work is built on the idea of observance and patience and it is this element of attentiveness that is at the heart of the experience.

A central element in expanding perception is the capacity to step outside oneself to see how one sees. This does not involve ornate or overly elaborate theatrics. Much of perception is about experiencing and relating to what surrounds us. I am interested in and make use of the everyday because access to an attentiveness towards life's subtleties, temporality and uncertainty lies in the commonplace, in that much of experience stems from the ordinary.

My works are slices, reflections and projections of life. They lie somewhere between 2D and 3D, blurring the lines of physical space with the digital. The spatial and sculptural qualities that they attain induce a playful illusion in the moment of trying to make sense of what the eye sees.


39. Colleen M Kelly
Cursive Study
hand-pulled print on rag paper. 18in x 25in

These pieces come from three separate bodies of work. The first piece titled "Cursive Study", is a hand-pulled photopolymer intaglio print on rag paper. The second piece, mixed media assemblage, titled "Flood-proof, Post-Earthquake Retrofit" is from my "Human Impact" series. This series deals with climate change and how technology has affected the planet since the Industrial Revolution. The third piece, cast bronze with lead type, is titled "Enigma" and is from my "Portals" series.


40. Dawn Kramlich
Palimpsest No. 4 (Your Value to Us Diminishes)
laser-cut matboard . 6.75in x 12in x 1.5in

41. Dawn Kramlich
I've Already Spent Too Much Time With You
laser-cut matboard, wooden stand . approx. 7.5in x 5.5in x 1.25in

My impetus for working is the notion that communicative digital technology – Internet, cell phones, social media – changes our brains’ methods of processing information, consequently changing both our means of communicating and the ways we use language within our cultural milieu. Computer-mediated communication is simultaneously both the theater and death of language; language experiences globalization because of the Internet, but there is always something lost in translation.

I find that our minds, information resources, and language itself, are turning into palimpsests – numerous strata of fragmented language, whether visual or verbal, never fully procurable due to dense histories of rapidly scanned information and cultural appropriation. As a ‘wordsmith’, I employ repetition, layering and text-specificity in sculptures and installations to examine the moments when language fails to accomplish one of its base claims, clarification. Valuing quantity and instant gratification over quality and details causes this slippage of language, resulting in fragmented vagueness that caters to miscommunication and cleaved multiplicities of the self. The interstices of meaning are lost or ignored. Language is a shape-shifter; each consecutive participant’s perception molds it anew, and I deconstruct moments of communication or miscommunication by simultaneously drawing attention to such interstices and using them as a metaphor for each subjective’s multiple modes of existence.


42. Ingrid Lahti
neon on plexiglas
15in x 12in x 5.5in

43. Ingrid Lahti
neon on plexiglas. 12in x 10in x 5.5in

My neon signs are part of my investigation of ambivalence and mixed messages in human relationships.

They are informed by contradiction, tension and conflicting impulses. The message's disguise as commercial signage, the color, and the breaks in the message are as important as the text.

My signs do not operate like commercial signage. They&rsquo;re not advertising. My signs operate in a different way because they&rsquo;re about ideas.


44. Mario Laplante
A three-inch thick paper disc made of acid free paper wrapped with Relief printed Japanese.

Dennison is a myriad of small parts coalescing into an organized field, as if the gravitational force of the central mass had pulled all of these moments of color into its orbit. One is reminded of early cosmologies, in which every sphere of existence is depicted in as many concentric circles. Or of a mandala, which, like the discus shape of this work, invites the viewer to contemplate the movement from outer perimeter to inner circle—a meditation on unity.


45. Barbara Lekus
Just Another......
Pastel. 33in x 25in

My work deals with feminism and the objectification of women. Beauty is destiny in a world where half of the population is judged by their appearance. As a woman I have always resented this assessment and strive to point out the absurdity in this value system.

Contrasting women with cattle in “Cattle Call” is an obvious reference to the rating system that women are subjected to. “Just Another....” also compares the way women are perceived and compared with animals. “Girls Will Be Girls” delves into the paradox of the beauty world and its issues of sexuality and exploitation.

The text in these pieces pull the images together with a bit of humor, a touch of sarcasm, and some contrasts to explore.


46. Kate MacDonald & Les Sears (K8L35)
Plastic, thread, wood, LED with battery pack. 2 x 24 x 6in

47. Kate MacDonald & Les Sears (K8L35)
plastic, wood, thread. 9 x 9 x 2in

As K8L35, collaborative artists Kate MacDonald and Les Sears endeavor to elevate the status of objects by creating meaning outside of original context. Their recent works - mixed media constructions comprised of found objects, acrylic and cast resin are inspired by discourse around the subjects of memory, immoderation, and identity.

In their latest series, Vera Crux/Imago Dei, K8L35 have reimagined popular symbols and consumer goods as religious iconography in an examination of modern religion.

The symbolic aspect of religion is considered to be the main characteristic of its expression. Seductive and secretive, these symbols can be as appealing to the outsider as they are revelatory to its innermost circle. Developed as communicative devices between the spiritual and the earthly world, they are the harbingers of the technical, scientific and commercial symbols of today. They have become how we, as consumers - of religion, knowledge or services - make sense of the modern world and our own places in it.

These pieces recreate a language of iconography based on the differences and similarities of Les and Kate&rsquo;s own religious backgrounds, lapsed and reimagined faiths, and fascination with consumer goods and logos. Cutouts and shadow reveal the possible presence (or absence) of a higher power while resin crackers alternately describe the human body and its desires as well as the Christian transfiguration. Their use of constructions and manmade materials correspond to the earthly realm of what can be seen, named, and touched &ndash; in direct contrast to the use of gold in Byzantine mosaics which corresponded to the light of the divine.

Equally informed by Pop Art, installation and new media, Kate and Les are ultimately concerned with aesthetic (for better or for worse) while emulating the humour and wit of Duchamp. They include Jasper Johns, Robert Rauschenberg, and Claes Oldenberg among their most important influences.

Les's work has been exhibited throughout Canada, while Kate has exhibited internationally in a variety of media. Her paintings have been featured in Wired (US and Italian editions) and GQ magazine (South Korea and India editions). She is currently represented by the Los Angeles Center for Digital Art, where she was selected as one of Ten Artists to Watch in 2012. As K8L35, they have most recently exhibited in Vancouver, BC and Toronto, ON.


48. Stuart McCall
Underpass Markings
pigment print on paper. 32in X 48in

These images and video are part of an ongoing examination of the various stages in a home's lifecycle. Represented here are two of the final chapters, just prior to final demolition.


49. Trevor Messersmith
Archival Ink Jet Print. 30x30in

Covered is a series of self-portraits I created (for a time, unwittingly) in response to my own pleasure as a viewer. Covered is about my relationship with certain artists, photographers, and filmmakers that shaped my outlook on art and desire. Casting myself as the object of the artist's gaze - within the constructs the artist him/herself created in his/her own work - I am both performer and observer. Covered is also about my relationship to art history, appropriation, and representation.

Included in this series are 'Self-Portraits As': Kenneth Anger, Francis Bacon, Brassai, Jean Cocteau, Maya Deren, Nan Goldin, Eikoh Hosoe, Duane Michals, Laszlo Moholy-Nagy, Paul Morrissey, Mark Morrisroe, Helmut Newton, Man Ray, Lucas Samaras, Tom of Finland, Andy Warhol, and Francesca Woodman.


50. Janet Milhomme
Retro 76, from the series "Undistinguished Places"
Pigment print on rag paper. 21H x 21W

The series “Undistinguished Places” is comprised of images taken in anonymous places, small towns, and deserted buildings and areas. They are often places of unfulfilled dreams and ordinary lives. In most cases, people are absent, having deserted their homes and factories or hidden themselves behind closed doors, their economic despair on view in the peeled paint and detritus of their surroundings. We feel their presence in an empty laundromat or closed auto repair business or behind the dull curtains of a faded beer bar. Many places feel somehow familiar, tugging at memories of long-gone family homes. They are places where people are born and hope to leave behind--ordinary, unremarkable and indifferent.


51. Greg Morrissey
recycled acrylic paint, enamal spray paint.and transparencies. 18x24

Most of my life I have been on again-off again with being what I would call, "an artist". For over 40 years I have been working in sculpting in clay and in my spare time instructing children and grade school teachers with ceramics both at my studio and classrooms.

Over the last 12 years until my retirement, I have been consumed with sing reclaimed acrylic paint used in store front advertising. I made a breakthrough 2 years ago.

My journey to self discovery continues


52. David Orr
Double Standard: 'gaol; jail'
dye-infused aluminum panel. 8 x 24 inches

“England and America are two countries separated by the same language.”

— George Bernard Shaw

The works from the 'DOUBLE STANDARD' series are meant to illustrate the observation above by juxtaposing British spelling with American spelling of common english words.

The British spellings come primarily from the Oxford English Dictionary (“widely regarded as the accepted authority on the English language” — via OED website) and Webster’s Dictionary of the English Language (“the foundation of America’s heritage and principal beliefs” according to the 1828 version, which “may well be thought of as the first to Americanize the English lexicon, incorporating many words that were distinct parts of American life…words that had not previously been recorded in dictionaries, and simplifying British spellings…” - via Webster’s website).

The differences are often nuanced, yet often reveal fissures between the two iterations of the same words. In some cases, British spelling seems needlessly fussy when compared to the American (‘Colour’ vs. ‘Color’). In other cases, the American spelling robs the British spelling of considerable beauty and grandeur (there is little doubt that the British ‘Marvellous’ is more marvelous than the American spelling). In yet other instances, there is little in common between words: “Gaol” with its French(!) origin, and “Jail” seem separated by a cultural and linguistic chasm, until you learn that the pronunciation is identical.

The result of these differences is almost two languages, separated by a desire to retain cultural identity (OED) and forge cultural identity anew (Webster's). I devised a color coding scheme which is meant to refer to educational flash cards and linguistics in general. Colors have their own language, and these were chosen to add further nuance to the meanings of these words.


53. Steven Roberts
Sample Test Page
Folio from hardware manual, sunglasses, watch, nail polish, quote (Tweet) by ee cummings. 7in W x 5in H

54. Steven Roberts
Champion of the Cross
Book, paper, wire, wood, watch. 5-1/2in W x 8in H

As an artist who works as a professional writer and editor I have always been interested in the differences between the visual and written art forms and the synthetic effect of juxtaposing words and images. I am also interested in how the use of printed language as a tool has evolved – or devolved – from the time of the Gutenberg printing press to the advent of Twitter.


55. Cate Roman
White Noise
Wood. 8.5in x 28in x 13in

Fascinated by the imperfections in written and even spoken communication, Cate's fine art practice explores visual structure as a replacement for verbal dialogue. Creating a conversation between intuition and structure, these objects are lyrical sequences which express what the artist is truly aware of but can not put into words. The abstracted and ambiguous work use both presence and absence of language to articulate the experience of word combinations.


56. Nancy Roy-Meyer
acrylic on canvas. 82in x 60in

Hanging from a word on a hand-stitched canvas, full of generous glitter, rhinestones and rich colors, I imagine a world where the abundance of flesh is celebrated as alternative to the deprivation, restriction and regulation of a lean existence. My painted self-portraits depict an aging, obese woman whose voice is often marginalized and placed on the fringe of society. From the experience of being both invisible and hyper-visible under the critical gaze of others, I question who and what is grotesque? I interrogate socio-cultural hierarchies and female body politics, while mining absurd and hypocritical behaviors of others in a weight-phobic American culture. I use self-deprecating humor as psychological defense and carnivalesque satire to unsettle the viewers? normative patterns of perception towards corpulence. I juxtapose myself with painted portraits from art history to situate my work within a tradition of female representation and to probe ideological positions of body identity. I appropriate images from popular culture to re-contextualize the female portrait from a fat woman's perspective.


57. Kathy Rudin
Vintage image, oil stick and rub-on transfer on paper. 6in X 8in

Kathy Rudin is an artist from New York City. Her work has been published in, OUT, Genre, Wilde, Riding Light, DUM-DUM, RIPRAP Journal, The Chaffey Review, The Sun, The Boiler Journal and Bop Dead City, among others, and has been exhibited at galleries in New York City, Miami, Los Angeles and Vancouver. She also volunteers at an animal shelter, and her favorite words are, “no,” and, “slacks.”


58. Gareth Seigel
Carpe Diem
silver paper. 15inx15in

59. Gareth Seigel
Name, Address, Phone
archival pigment paper, aluminum frame. 3ftx6ft
$9,500 w/ frame

Photographs from the series In Thirty Eight Words or Less chronicle found words, messages, and symbolic structures created by frequently anonymous people in Southern California and the Southwest. Each image, isolated from its broader physical context, presents a message in a format that is instantly familiar in a culture increasingly dominated by targeted advertising and social media. The immediate effect is direct, but nuances emerge in surprising and sometimes humorous ways. From the word 'Hero' spray-painted on the back of a billboard to 'Don't Let the Bastards Grind You Down', scrawled in wet concrete in Hollywood, the photographs can be seen as a kind of public text messaging and a running commentary on the messages which the viewer must supply. Finally, as photographs, they address the ability of the medium to suggest truth while remaining irrevocably subjective.


60. H. Jennings Sheffield
The Collective Glitch [FAMILY]
Archival Pigment Print. 40in x 40in

The Collective Glitch

We have all had that moment. The moment where you are sitting around a table and a childhood friend, or sibling begins to describe a situation or something that has happened to them, and as the story unfolds, you have to pause. The story they are telling did not happen to them, it happened to you. Or sometimes, we think we can remember a childhood event or birthday party, but we only know who was there or what we were wearing because of photographs we have seen from the event.

What makes a memory? In an image-saturated world what is our memory and what is collective? More importantly, if we combine our memories as a collective, would it look like?

The Collective Glitch investigates the idea of 'a collective memory&rdquo;--how we recall information, and if combined, what it would look like. It consists of 10 images built from photographs provided by &ldquo;a collective.&rdquo; The collective comprised of 16 individuals from twenty-somethings to seventy-somethings with different disabilities, age, geographic locations, and socio-economic backgrounds. With these 16 people representing myriad demographics, I felt I had a collective. I then requested 10 specific images from the collective--their favorite portrait of themselves (any age) a photo that best represents their family, fear, home...etc. Some were images they personally had photographed, some were images they pulled off the internet and some were from personal family archives, but all the images were personal and intimate. I then built the "collective" image filtering the 16 images provided by the collective that represented that particular word or emotion through a modified form of morse code.


61. Kathryn Shinko
Dirty Sampler Series: r u picturin
cotton cloth and thread. 20inx20in

We are so well-indoctrinated into passive acceptance of pornographic imagery in the media that attempting to analyze the specific role that language plays in pornography is impossible without first removing its accompanying imagery. "Vignettes" is a series of large industrially-woven tapestries examining the language of pornography and its effects when juxtaposed with non-pornographic images. Titles of streaming online videos from the website are woven among photo-realistic landscapes representing purity, majesty, and divinity. These visual contrasts are intensified through the medium of cloth, with which we all have sensual and personal familiarity.

By separating these phrases from their visual contexts, the degrading, sexist, and violent qualities of pornographic language are revealed. Its usage is not arbitrary or context-specific; rather, it reflects our societal concept about the position of women in particular, and about the extent of our voyeuristic privilege.


62. Nicole Stahl
Illuminate My Soul
Cast glass, pigment, wood, polymer clay, feathers, projection. 2.5x2x4ft

63. Nicole Stahl
Illuminate My Soul
Glass, pigment, wood, transparency, polymer clay, feathers. 12x10x12in

Dreams often intertwine with memories making it difficult to recall where reality ends and fiction begins. My sculptural glasswork utilizes this idea by exploring the combination of stories of imaginary narrative, real life memories, and the swells of emotions I encounter on a daily basis. By juxtaposing metaphorical physical representations, distorting the scale, and turning them into glass, I form a new scenario. I strive to pique a childlike sense of wonder and imagination yet balance it with a sense of caution and warning. My dramatic glass sculptures act as a diary of thoughts and happenings as they reflect the reality of life through utilizing a balance of delight and doom. These enticing, beautiful, precious objects portray a feeling that can also seem slightly sinister.

The process of lost wax casting literally freezes a memory. I start by forming a sculpture out of a soft, moldable wax. This object is then covered in a plaster/silica mold material. The solid wax sculpture completely melts away, only leaving an impression within the plaster. The molten glass flows into the void, and as the temperature in the kiln cools, the glass hardens and memorializes the shape. The uncertainty of this process also ties into the concept. The weightiness of the material, the soft surface and cool temperature feel like a memory, frozen in time. Glass holds a natural transparency that I can control. It can conceal, hint, or completely display; all metaphorical for life. Some pieces are darkened with a pigment to elude the idea of skewed recollection and nostalgia.

Due to my past of childhood illness, I have a heightened sense of mortality and isolation that informs my work. I will forever hold a strong connection to the worldly escape of toys and the silliness and innocence of childhood while retaining a looming sense of danger. This is often reflected in my common use of imagery tied to this period such as references to the body, toys, balloons, and game pieces. These experiences can become a heavy weight on my psyche, and I am slowly coming to terms with how these events in my past have shaped and still affect me.

Also like glass, my emotions are heavy, potent, and fragile, yet resilient. I consider dreams the mind's way of responding to imagination, daily happenings, and the processing of these emotions. By referencing dreams and memories, the sculptures become a way to help me confront issues and regain a sense of power over a situation I really have no control over. I often feel like I’m slipping, grasping at the edge, or that there is a ticking timer I don’t know what was set to. Responding to these feelings by making glass sculpture has become a cathartic way to cope with the anxieties, accept them, and survive.

I hope viewers can find solace in my work by experiencing a sense of balance and belonging; a sense of wonderment and awe; a sense of meshed imaginary and reality; and ultimately a sense of self-reflection and acceptance.


64. Charley Star
The Divide
Archival Pigment Print. 13x19

"Intimate Strangers" is a series about injecting personal intimacies into the public space through the use of words.

In this series, I employ text phrases of prose and poetry over photography, paper objects, and other mixed medium as a way to comment on our need for deeper human connection. My work deals with themes of longing, intimacy, loneliness and identity. I am interested in what we choose to conceal or reveal of our deepest thoughts and desires, and in the collective response to intimacies from a stranger.

I imagine word-phrases as objects themselves, floating around and reverberating in my head, floating in a mountainous canyon, a tree line, the atmosphere&hellip;. as a narrative on our collective state of connection.

Especially in this technologically driven climate, we have the opportunity to connect more than ever. Yet sometimes the technology itself causes more loneliness and disconnection. Virtual identity is ripe with carefully constructed identities of who we want to present ourselves to be, rather than who we may actually be. In this work, I want to strip away false pretenses and push the boundaries of public presentations of persona.

Through careful selection of word phrases that reveal intimate narratives, strung together in tweet-like 140 characters or less, I aim to heighten language itself and push it to the forefront, trumping the visual object. The text phrases float along in atmospheric moody scenes&mdash;evoking the ephemeral, fluctuating nature of thought and identity.


65. Dafna Steinberg
Down in History
mixed paper collage, screen shot Tinder conversation. 10.5in x 9in

66. Dafna Steinberg
mixed paper collage, screen shot Tinder conversation. 9in x 10in

Things in fragment have always fascinated me more than full images. Details are sometimes more interesting than the bigger picture. Imagination has always played an integral part in my creative process as I try to give the viewer the opportunity to tell his or her own story through my artwork. My work is about taking your imagination in a different direction, allowing it to wander through different story lines.

Though my background is in photography, I also work in mixed media and collage. These collages are inspired from dreams, the media and how I see the world. They are puzzles that come together organically from bits and pieces of magazine cut outs, vintage postcards and photographs of people I have never met.


67. Felis Stella
Stoneware, light fixture . 49in x 40in x 10in

Felis Stella is an interdisciplinary artist who uses humor and social, cultural and psychological insight to tackle subjects of the human condition - from love and relationships to gender identity, language and human rights. Her photography, installations, ceramics, mixed media and performance projects have been exhibited nationally in galleries and museums in Los Angeles and New York and internationally in galleries and cultural centers in Germany, Australia, Russia, and the Czech Republic. Some of the notable venues that have hosted her work are The Getty Center, Torrance Museum of Art, Los Angeles Contemporary Exhibitions (LACE) and Artists Space.

Stella immigrated with her family to the United States from the Soviet Union when she was 14 years old. Growing up under an oppressive Soviet regime of censorship, adversity, and mediocrity, Stella dreamed of being able to express herself freely and depict the world the way she saw it, not as she was told to see it. Immigration to the US played a dramatic part in shaping her life -- from learning and becoming fluent in a new language to fitting in socially and culturally. As a result, she continues to create work that is investigative and observational in nature, exploring aspects of the human experience that are shared cross-culturally.


68. Susie Stockholm
Water - Laguna Woods
Photo collage on Metal - white aluminum composite. 16 x 12in

Enjoying the transition from hand built collages and large textured acrylics into iPad art and photo collage.


69. Nishiki Sugawara-Beda
Voyage II
Acrylic, watercolor, ink on paper mounted on wood. 37.5inx47.5in

As a child, I learned Japanese calligraphy at school. When I was growing up, I watched my father, a calligrapher, practicing and saw how he approached his work. We talked about the meaning behind each proverb he was writing or about his practice itself. We still do. Together with Sumi-e (Japanese ink painting), Japanese calligraphy has become an activity that immediately connects me to my foundation as an individual and artist.<br><br>In my new series of work, I use this foundation as a basis for exploring the relationship between written language and visual images in both virtual and physical spaces. For painting, I start by searching for characters that embody a phrase or word expressing a particular theme. I draw the phrase in one layer and add another layer that explores possible nuances of the phrase, which creates a sense of space. I prefer paper as my surface, for the immediacy and finality with which it actively drinks up the ink. Finally, I add other elements that travel through the space, introducing more nuance, supporting the ideas, and making the space more complex or contradictory. Ultimately, I am exploring the relationship between written language and its visual expression. One of my goals is to connect emotionally to the meaning conveyed by the character or phrase, so that everything I do is a physical expression of that meaning.


70. Bethany Taylor
Nothing's Left
Jacquard woven emblematic tapestry / cotton thread. 36in x 26in x 3in

71. Bethany Taylor
One Ought to Fear Even the Tiniest Creatures
Jacquard woven emblematic tapestry / cotton thread. 36in x 26in x 3in

My work is interdisciplinary, utilizing drawing, painting, digital media, and installation, combined with my ongoing research in politics, ecology, media, psychology, gender studies and semiotics. My own personal history and influences compel me to be most concerned with violence, war, environmental disaster and inequality. My work is informed by the autobiographical with a strong desire to communicate about social, political and environmental issues that are pervasive but somehow made invisible in everyday life.

Reflected in both the content and the process of making my work, is the inherent impossibility of articulating experience, the collapse of certainty and the illusion of familiarity. I investigate a flux of meaning, and materiality. Objects, images and language in my work are ordered by shifting differences and are experienced as ephemeral or transitory. Ordinary places become strange or threatening, inanimate objects are animated, and what is repressed in one instant may become evident in the next.


72. Renee Ward
Sit Still & Be Pretty
wood, paper, mirror, paint and fabric. 20inx13inx13in

As a sculptor, I see the world in three dimensions. I have a background as a makeup artist so I am comfortable working on a multi-dimensional plane. To me, bringing out someone’s inner beauty is easy, the real challenge comes when turning that person into something that lives in your nightmares. Deciding to enhance or subtract facial features, or giving the character animalistic qualifies that will shock, amazing or frighten an audience has become second nature to me. That is the unique perspective that I bring to all of my artwork, I look at every piece from visual, psychological, and emotional level.<br><br>A blank piece of paper tends to make me anxious, but with a large block of plaster I can almost see the abstract form that it needs to become, full of curves, lines and sharp angles. My plaster sculptures are finished to remain white so that the carving work can be highlighted without the distraction of other colors. This allows the light and form to work together to create the visual effect.<br><br>More recently, I have begun to work in more mixed media style incorporating metal, glass, wood, fabric and other natural fiber into my work. While this expansion is quite new, it is very exciting and has allowed me to expand my body of work.


73. Jeff Williams
acrylic on panel. 10in x 13in framed

Nature talks to us, but its voice is sarcastic rather than comforting. The primary theme of my work is the intrusion of the inexplicable into everyday reality. My protagonists are usually animals -- or something similarly cute and childlike -- that have found themselves in dire or grotesque situations. These situations may be perfectly absurd, or may hint at something beyond our understanding. My work usually contains a sense of humor or play, although this may be expressed only by a certain cartoonish surrealism. I mainly produce either acrylic paintings or pen-and-ink drawings, but recently I have expanded my interests to include photography.


74. Everett Williams
Digital print printed on paper. 12inx18in

My work visually addresses the symbiotic relationship of photo images, language and symbols (signs & codes).

I use portraiture as a tool along with language and symbols as devices for identity, historical, political and social commentary.

Appropriated or original photographic and graphic images are combined to produce “OP/POP Art” portraits and images. The digital medium was used in away where chance combinations of layers and blending programs were discovered & used like painting. I digitally dripped layers of images through each other producing one of a kind chance combinations. Colors & images become available in ways not seen before, altering the visual perceptions of the images as they play with the senses.

Painters like Paschke, Johns, Raushenberg, Rosenquist, Warhol and Carrie James Marshall have influenced my work.


75. Nancy Wolitzer
Black ink on parchment paper. 11in 8.5in

I create intricate drawings, paintings and collages in books, paper, clayboard, and glass&mdash;comprised of many small and personal markings. While the intimate details and density of the markings can draw the eye to a particular corner or segment of the piece, I try to create a larger world that the viewer can briefly enter. A sense that you are somewhere else is essential to my work. Most recently I have been working with colored ink and oil paint pens to create pieces that are evocative of places that are both private and vast.


76. Kathrine Worel
in it that is more than itself
plaster, paint, spackle. 6in x 8ft

These Braille installations are created site-by-site, so that each is unique and specific to the venue. Limited editions of the candy pieces are also available.

Viewers interact with and activate the pieces through touch, their “reading” leaving traces that darken and enhance details of the casts, creating visible histories of transgressive intimacy.<br><br>Adhered directly onto the wall, painted and lit to disappear into the surface, the plaster installations use casts from my body (nipples, fingertips, teeth) as Braille nodes to form words and sentences. I use my own saliva to adhere the candy dot Braille, daring visitors partake in a sweet kiss when they “read” these works.

The minimalist nature of these Braille works heightens allusion to language as an invisible yet potent artistic structure. Further, by merging my body with the physical site and the written words I point to the conflicted relationship between systems based work, poetics and the carnal body.


77. Carolyn Yarnell
photo. 24x36

A thousand words unspoken, my art is both an expression of, and liberation from, this material world that my restless soul has found itself temporarily but so inextricably bound up in. Being a musician, in my visual work I draw from the formal techniques and the spontaneity of classical musical composition, incorporating counterpoint, tonal harmony and improvisation to create both linear and vertical depth. My photographs are not exact representations of places or things, they are rather like fleeting frozen moments perceived from great distances through the curved lens of time.



Delivery/shipping April 27th-May 6th, 12-5pm
•artist is responsible for shipping costs to and from the gallery. Please include return paid shipping label

Pickup Sunday: June 12 12-5pm

The Orange County Center for Contemporary Art (OCCCA) presents “tXtMe”, a juried call for art of contemporary creativity using letters, signs, text messages, words, lyrics, poetry, profanity and utter nonsense using digital media, Internet-based work, paint, pencil, neon or…?

Texting with imagery… and hitting “send” is something you might have done with a friend earlier today.  Text with beautiful hand-painted illuminations is something right out of the early medieval era.  Throughout history, text has been used in artwork to convey messages, be it sacred, political, or simply narrative. This tradition continues today as contemporary artists utilize text, letters and numbers as an integral part of their work.

Luminaries including Jenny Holzer, Barbara Kruger, Tehching Hsieh, Bruce Nauman, Edward Ruscha, and the late Sol LeWitt are a few… and there’s a good chance you do as well! ‘tXtMe’ is an innovative exhibition and exciting platform for you to showcase your text-related art to the world…

Juror Leisa Austin, Imago Galleries is judging this exhibit and we invite you to provide two and three-dimensional art that is exploring and expanding the concept of “Text Me”, following a broad and historical tradition… from ”drawn” to “digital” and beyond.


Founded in 1991, Imago Galleries is considered one of the West Coast's premier contemporary galleries. Often mistaken for a boutique museum, the 18,000-square-foot gallery also has a sculpture garden and terrace. More than an architectural icon, owner Leisa Austin strives for curatorial excellence in bringing groundbreaking exhibitions of the highest caliber to the desert, as Imago Galleries celebrates 24 years on the West Coast art scene.

Leisa Austin CV

Visionary Magazine




All work will be considered for sale unless otherwise indicated on the entry form.
Proceeds from work sold: 60% to the artist, 40% to OCCCA
Checks to the artists are processed within 30 working days of the close of the show.



Art sold remains on display until the close of the exhibition.

Although care will be taken in handling of entries, OCCCA accepts no responsibility for damage of work submitted to the competition improperly framed or packaged for handling.

Artists may wish to obtain their own insurance.



Artist agrees that display of the work in tXtMe is at artist's own risk. OCCCA is not responsible for any loss or damage arising from, connected with or related to theft, fire, vandalism, negligence, defamation, negligent display, water or flood, natural disasters, or any other occurrence, except that OCCCA are responsible for its own acts of willful misconduct or gross negligence. Artist hereby indemnifies and holds harmless, and agrees to defend OCCCA against any claims or demands arising out of or related to injury or damage caused by the Work, or from claims of infringement. OCCCA is not responsible for the appearance or non-appearance of committee members or their conduct. OCCCA is not responsible for the behavior of any guests or members of the public at the exhibition. Artist is responsible for obtaining insurance to cover damage to the works from any cause.



Artist contact information (email address, telephone) is only held for the purpose of contacting selected artists. All artist emails are added to our future events announcement email list. If you do not wish to be on the email list click the un-subscribe button when you receive the first announcement and your email will be automatically deleted.



By submitting works to tXtMe, artists agrees to the rules set forth herein.


Hold Harmless Agreement:

I hereby release the Orange County Center for Contemporary Art and its members from all liability of every kind and character on account of loss, damages, or injury to property which I may have while on the property at 117 N. Sycamore, Santa Ana, CA, 92701. and 1600 N. Broadway, Suite 210 Santa Ana, CA 92706

Any work left at OCCCA after exhibition closing, will be subject to a $10.00 per day storage fee. Any artwork left after 10 days from the pick up date will become the property of OCCCA

I understand that information contained in this form may be released to the media and that by entering this competition, I understand that my artwork may be photographed for promotional or other purposes.


Entry Agreement:

Submission for consideration in the exhibition, tXtMe constitutes agreement to the conditions stated in this document.


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