exhibitions & Events

Order and Chaos

Annie Clavel and guest artist Miguel Osuna

Saturday, Sept. 2 – Saturday Sept. 23

Opening Reception: Sept. 2, 2017 - 6 to 10 pm

Talk and Closing Reception: Sept 23, 2017 - 2 to 4 pm
Conversation with the artists moderator: jill moniz, phd, curator and principal at Quotidian


Show Description
Panic on Wall Street. A traffic jam at noon. Blizzards in August. Insanity in Washington. Chaos is in order.

Order and chaos are intricately interrelated. The slightest change in an orderly system can produce unanticipated, large-scale effects, like the butterfly effect. Order leading to chaos.

According to Chaos Theory, underlying the apparent randomness of chaotic systems are patterns: repetitions, self-organizations, and fractals -- the reproduction of the same pattern at increasingly smaller scales. Order in chaos.

Chaos Theory is a branch of mathematics but has been applied to everything from weather and traffic patterns to economics, physics, biology, and computer science. And art. Abstract art has long been on the cutting edge of exploring the relationship between order and chaos.


presents the work of two different artists who approach this relationship from two different perspectives.


Annie Clavel. Complicated Dynamics, mixed media on canvas, 24”x24”

Annie Clavel​ is not only an artist but also a trained mathematician. Her work derives from mathematical concepts such as fractals and are organized in terms of colors, shapes, light, and movement. Underlying her work are patterns: patterns of thoughts, emotions, and stories. The order underlying the chaos.


Miguel Osuna. Exit Strategy, oil on canvas, 60” x 60”

Miguel Osuna​ approaches the relationship between order and chaos from an intuitive perspective. Creating order out of chaos. His works touch on the two notions conceptually and as part of his process. Osuna’s training as an architect before the computer age is apparent both in his work process, tool selection in the studio and final execution.


Press Release



Life and Culture in the Golden City

A Social Documentary of Santa Ana
Presented in Photography by Federico Medina

October 7-28. 2017

Opening Reception October 7, 6-10pm

Guest artists Michael Ziobrowski Valerie Inez Rodriguez and Fernando Olivares

The City of Santa Ana Investing in the Artists Opportunity Grant presents an exhibition of monochrome photography by Federico Medina, a life-long Santa Ana resident. “Life and Culture in the Golden City” is a showcase of the culture, architecture and diversity in Santa Ana. We live in a time where life and our environment is advancing and transforming at an accelerated rate which is why Federico Medina decided to create a “time-capsule” in the form of photography spanning from late 2015, 2016 to early 2017. Although Santa Ana has and will continue to advance in many forms; many elements of the city will always remain. Each resident of Santa Ana experiences the city in his or her unique and personal way. The photography exhibit “Life and Culture in the Golden City” is Federico Medina’s view of Santa Ana through his camera lens. Each segment of the exhibit is accompanied by a description explaining certain photographs and the photographer’s experience in capturing the moments in time on display.

SEGMENTS OF SANTA ANA ON DISPLAY • Murals and Architecture • Youth • Seniors • Religion • Community • Culinary • Protest • Music • Art • Street Photography • Homeless Population

Press Kit




Exhibition dates: November 11 - December 22, 2017

"Portraiture - An Exhibition" curated by Shane Guffogg,
A variation of the exhibition was formerly shown at Pharmaka Art, Los Angeles, CA (2006) and The Lindsay Museum, Lindsay, CA (2016).

Exhibiting artists in alphabetical order, Xander Berkeley, Don Bachardy, Jeff Britton, Shane Guffogg, Laura Hipke, Doro Hoffman, Michael Lindsay – Hogg, Deborah Martin, Ed Ruscha, Paul Ruscha, Alison Van Pelt and Vonn Sumner


Portraiture goes back in time to the stone ages (some 30,000 plus years ago), and continues all the way through to today. Images of the human face have served as a vessel to carry ideas of who we were – and are – throughout the centuries, ranging from the idealized forms of the Sumerians and Egyptians, to the naturalized images of Greeks and Romans and back again to stylized images of the Byzantine era, only to find a new idealized form of realism in the 1400’s, now commonly known as the Renaissance.

Each style change was prompted or accompanied by a change of ideas of how the people thought about their world and their place in it. By the beginning of the 20th century, Picasso's portraits had run the full gamut of every style that had preceded him until he took his cue from the new ideas of science (relativity) and began fragmenting his images, creating multiple of views, simultaneously.

And then there is Andy Warhol and his use of photography and screen printing to replicate the mid 20th century's world of images, showing us not only how we see but how the images are made.

That leads us up to today. But one big difference between where we are now versus where we were, even 10 years ago, is that throughout history their have been trends that get coined as an “Ism” like French Impressionism. But in our technologically driven- information age, there is no one style or idea that dominates the artistic landscape.

In fact it is just the opposite because now with a click on the mouse or keypad, virtually any image from anywhere in the world is available. I like to think of the computer screen as a portal into a 4th dimension where the past and present are all there, existing simultaneously.

So what does that do to art and more to the point, portraiture? The answer, in part, is that any and all artistic styles are available to draw from. Until now, there really has not been any rules that claim what is fashionable or relevant. The main objective of portraiture, as best I can figure, is to really see ourselves – both physically and emotionally, and hopefully gain insight and understanding into what we call the Human Condition.

Portraiture is much more than capturing a likeness of someone. It goes deep into our past like an underground river, resurfacing as our future. The artists and artworks I have chosen for the Portrait exhibition at Orange County Center for Contemporary Art add to a larger picture that is both a vision of our reality and a psychological reflection of what that reality is. I admire what these artists are doing – making images- which is a tradition and form of communication that is as old as humanity itself.

Some of these artists tell stories, others imply stories, others depict a moment as fact. Some capture that moment with a gestural brushstroke that becomes a visual metaphor. In some, the colors are pushed into a seemingly different dimension. And some look like a strange scene from a film that was (maybe) never made.

They all add up to what I think of as a snapshot that is being driven by a need to understand and reflect about what it means to be human in the beginning of the 21st century.

Curator – Shane Guffogg

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