EXHIBITION #2
Jingyi Zhang/Emei Mountain
JINGYI ZHANG:
"These works are part of my project, 'Vacuum World'. I’m deeply drawn to the Buddhist concepts of “dependent origination” (pratītyasamutpāda) and “reincarnation.” I believe that every element of nature possesses its own soul and free will, reincarnating through different life forms across time. In Vacuum World, I place the world in a fictional vacuum — a liminal space where all beings seem trapped in a suspended flow of information, with emotions delayed, quietly awaiting their next fated encounter. I long to witness a moment after the world’s end, when everything enters a pure, boundless space, connected by the very essence of life itself."
Jingyi Zhang(b,2001) is a New York/Beijing-based artist who graduated from Columbia University with an M.A. in Film and Media Studies, Emergent Media track. Her work includes moving images, still photography, and interactive design, exploring metaphors embedded in natural objects and the manifestation of human intuition and subconscious in the material world. Her works have been exhibited at the Yachang Art Center and Yan Art Gallery, and she has performed at notable venues such as the National Centre for the Performing Arts and the Zhongshan Concert Hall in China.
IMAGES FOR SALE:
LEMON CRUISE
18*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
THE INSIDE OF A GREEN APPLE
18*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
SEA FUNERAL
12*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
SALTY LAKE
18*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
UNSEEN LAKE
18*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
Contact:Jingyi Zhang, jingyizhang145@gmail.com
"These works are part of my project, 'Vacuum World'. I’m deeply drawn to the Buddhist concepts of “dependent origination” (pratītyasamutpāda) and “reincarnation.” I believe that every element of nature possesses its own soul and free will, reincarnating through different life forms across time. In Vacuum World, I place the world in a fictional vacuum — a liminal space where all beings seem trapped in a suspended flow of information, with emotions delayed, quietly awaiting their next fated encounter. I long to witness a moment after the world’s end, when everything enters a pure, boundless space, connected by the very essence of life itself."
Jingyi Zhang(b,2001) is a New York/Beijing-based artist who graduated from Columbia University with an M.A. in Film and Media Studies, Emergent Media track. Her work includes moving images, still photography, and interactive design, exploring metaphors embedded in natural objects and the manifestation of human intuition and subconscious in the material world. Her works have been exhibited at the Yachang Art Center and Yan Art Gallery, and she has performed at notable venues such as the National Centre for the Performing Arts and the Zhongshan Concert Hall in China.
IMAGES FOR SALE:
LEMON CRUISE
18*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
THE INSIDE OF A GREEN APPLE
18*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
SEA FUNERAL
12*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
SALTY LAKE
18*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
UNSEEN LAKE
18*12 inch
Archival Paper
$500 framed
Limited edition of 10
Signed on back
Contact:Jingyi Zhang, jingyizhang145@gmail.com
Jingyi Zhang/Lemon Cruise
Jingyi Zhang/Salty Lake
Jingyi Zhang/Sea Funeral
Jingyi Zhang/The Inside of a Green Apple
John Waiblinger/Elf Bane
JOHN WAIBLINGER:
'Rebirth & Renewal'
"Waiblinger uses his fixation on the beauty of men to transfigure the carnal into his own embodiments of adoration and celebration."
"In my art I explore the mystery of why I find some men so beautiful and so intriguing. I use found images from the Internet's vast store of gay pornography,and combine them with my own photographs to articulate a relationship with those men. I consider the work Post Photography in that I am "making" a new photograph that is specific to my internal point of view.
The work presents the men I've appropriated via their pornographic performance and reconstructs them within the realm of my imagination. I manipulate these images to portray a masculinity that celebrates softness and a different type of edge, creating a tension between the normative and the transgressive. Pornography tends to objectify whereas I prefer to romanticize. My intent is to investigate and illustrate how such juxtaposition can broaden perceptions and understandings of masculinity."
Exhibits include: Solo show, Circus of Books, Los Angeles, CA, Different from the Others, tag Gallery, Los Angeles, CA, The Beauty of Men, Hellada Gallery, Long Beach, CA, Solo show with Sean Yang, Window Dressings, Cerritos College Fine Arts, Cerritos, CA.
IMAGES FOR SALE:
Elf Bane - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
Enchantment - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
I just don't want to look - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
Lotus in the City - 13"H x 19"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
Mesmerized - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
Windswept - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
contact:
John Waiblinger - waibling@yahoo.com
'Rebirth & Renewal'
"Waiblinger uses his fixation on the beauty of men to transfigure the carnal into his own embodiments of adoration and celebration."
"In my art I explore the mystery of why I find some men so beautiful and so intriguing. I use found images from the Internet's vast store of gay pornography,and combine them with my own photographs to articulate a relationship with those men. I consider the work Post Photography in that I am "making" a new photograph that is specific to my internal point of view.
The work presents the men I've appropriated via their pornographic performance and reconstructs them within the realm of my imagination. I manipulate these images to portray a masculinity that celebrates softness and a different type of edge, creating a tension between the normative and the transgressive. Pornography tends to objectify whereas I prefer to romanticize. My intent is to investigate and illustrate how such juxtaposition can broaden perceptions and understandings of masculinity."
Exhibits include: Solo show, Circus of Books, Los Angeles, CA, Different from the Others, tag Gallery, Los Angeles, CA, The Beauty of Men, Hellada Gallery, Long Beach, CA, Solo show with Sean Yang, Window Dressings, Cerritos College Fine Arts, Cerritos, CA.
IMAGES FOR SALE:
Elf Bane - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
Enchantment - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
I just don't want to look - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
Lotus in the City - 13"H x 19"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
Mesmerized - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
Windswept - 19"H x 13"W
archival metallic gloss paper
$120 unframed, rolled in a tube
Limited Edition of 3
signed on the front
contact:
John Waiblinger - waibling@yahoo.com
John Waiblinger/Enchantment
John Waiblinger/I Just Don't Want to Look
John Waiblinger/Lotus in the City
John Waiblinger/Mesmerized
John Waiblinger/Windswept
Julie Wang/Soft Armor 1
JULIE WANG:
'Soft Armor'
"This series began quietly, during a time when I had an accident and could not walk without crutches. As I spent more time in stillness, I found myself returning to my long-held nature collection—dried flowers, a nest, a dragonfly, fragments I had gathered over the years without knowing exactly why.
After my injury, these small remnants took on a new kind of meaning. I began placing them on my body—on my right foot, the one I could no longer use freely—as a quiet ritual of reflection and care. Each gesture became a way to mark presence, to create intimacy with stillness, to say: I’m here. I’m noticing. I remember.
These images are not about performance. They are moments of holding and being held. In response to the theme “It’s the End of the World as We Know It (And I Feel Fine),” they offer not protest or irony, but softness, surrender, and a different kind of strength.
When the world narrowed, I turned to what I had already gathered. And there, in stillness, I found something like armor.
Something like grace.Bio-
Julie Wang is a Seattle-based artist whose photography explores impermanence, memory, and the quiet resilience of nature. With a background in medicine and a deep love for literature and Eastern philosophy, she creates visual poems from everyday fragments—dried flowers, shadows, reflections. Her work offers moments of stillness in a shifting world, inviting viewers to pause, feel, and gently reflect."
'Soft Armor'
"This series began quietly, during a time when I had an accident and could not walk without crutches. As I spent more time in stillness, I found myself returning to my long-held nature collection—dried flowers, a nest, a dragonfly, fragments I had gathered over the years without knowing exactly why.
After my injury, these small remnants took on a new kind of meaning. I began placing them on my body—on my right foot, the one I could no longer use freely—as a quiet ritual of reflection and care. Each gesture became a way to mark presence, to create intimacy with stillness, to say: I’m here. I’m noticing. I remember.
These images are not about performance. They are moments of holding and being held. In response to the theme “It’s the End of the World as We Know It (And I Feel Fine),” they offer not protest or irony, but softness, surrender, and a different kind of strength.
When the world narrowed, I turned to what I had already gathered. And there, in stillness, I found something like armor.
Something like grace.Bio-
Julie Wang is a Seattle-based artist whose photography explores impermanence, memory, and the quiet resilience of nature. With a background in medicine and a deep love for literature and Eastern philosophy, she creates visual poems from everyday fragments—dried flowers, shadows, reflections. Her work offers moments of stillness in a shifting world, inviting viewers to pause, feel, and gently reflect."
Julie Wang/Soft Armor 2
Julie Wang/Soft Armor 3
Julie Wang/Soft Armor 4
Julie Wang/Soft Armor 5
Kathryn Dunlevie/Persephone
HONORABLE MENTION
HONORABLE MENTION
KATHRYN DUNLEVIE:
'Deities, Heroes, Villains, and Saints'
"I have always been intrigued by each individual’s particular and shifting sense of what is real.
In this series, I am looking at the human propensity to imagine, create, fear, admire, worship or condemn larger-than-life entities: other humans, animals, spirits, magical hybrids or talismans. These creations often embody exaggerated versions of human qualities - whether admirable or reprehensible - and may inspire communal unity or war; great acts of courage or crippling fear.
I am intrigued by our fascination with these personae, who can serve as cautionary tales as often as positive role models. In this series, I am investigating our tendencies to project ourselves onto them and to be influenced by them."
Kathryn Dunlevie has always been intrigued by spatial and temporal inconsistencies, and by every individual’s particular and shifting sense of what is real. Fragmenting, reassembling and layering images, she suggests the fluidity of space and time, and the complex psychologies of the entities she portrays.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in China twice at the Pingyao International Photography Festival, in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo +, and in Germany’s Profifoto, as well as in Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
'Deities, Heroes, Villains, and Saints'
"I have always been intrigued by each individual’s particular and shifting sense of what is real.
In this series, I am looking at the human propensity to imagine, create, fear, admire, worship or condemn larger-than-life entities: other humans, animals, spirits, magical hybrids or talismans. These creations often embody exaggerated versions of human qualities - whether admirable or reprehensible - and may inspire communal unity or war; great acts of courage or crippling fear.
I am intrigued by our fascination with these personae, who can serve as cautionary tales as often as positive role models. In this series, I am investigating our tendencies to project ourselves onto them and to be influenced by them."
Kathryn Dunlevie has always been intrigued by spatial and temporal inconsistencies, and by every individual’s particular and shifting sense of what is real. Fragmenting, reassembling and layering images, she suggests the fluidity of space and time, and the complex psychologies of the entities she portrays.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in China twice at the Pingyao International Photography Festival, in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo +, and in Germany’s Profifoto, as well as in Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
Kathryn Dunlevie/Eris
Kathryn Dunlevie/Eurydice
Kathryn Dunlevie/Fahima
Kathryn Dunlevie/Salus
Kaye Freeman & Amy Kaps (aka Hibiscus TV)/No Fear, Cavalier Renegade
FIRST PLACE
FIRST PLACE
KAYE FREEMAN & AMY KAPS (aka HIBISCUS TV)
Jurors Andi Campognone and Shana Nys Dambrot review the first place image:
"Two shadows bearing musical instruments dance in defiance of the coming void. Their exaggerated silhouettes blur the line between cabaret and ritual, comedy and catastrophe—insisting that if the world must end, it will end in song. The image distills irony and poignancy with humor and gravity, reminding us that joy is a human instinct essential to survival.
Please describe your relationship to performance art."
Kaye Freeman/Amy Kaps: "We are conduits and use any means necessary. We have no limits and performance is one part of our oeuvre. Experimentation and simply doing is our method."
Jurors: "How does working as a duo differ from / fit into each of your individual practices?"
Kaye Freeman/Amy Kaps: "We each have different skills, techniques and aesthetics and work without ego. We choose a topic and go at it very organically with as little blood shed as possible. We work together and then separately yet simultaneously."
Jurors: "What are your favorite coping strategies for the polycrisis?"
Kaye Freeman/Amy Kaps: "For Hibiscus TV it is Dance, dance, dance..
For Kaye it is drawing, meditation and Oscar, the dog. For Amy it is cannabis, conversation, lap swimming, beach walks and the knowledge that she is born of Joy"
Jurors Andi Campognone and Shana Nys Dambrot review the first place image:
"Two shadows bearing musical instruments dance in defiance of the coming void. Their exaggerated silhouettes blur the line between cabaret and ritual, comedy and catastrophe—insisting that if the world must end, it will end in song. The image distills irony and poignancy with humor and gravity, reminding us that joy is a human instinct essential to survival.
Please describe your relationship to performance art."
Kaye Freeman/Amy Kaps: "We are conduits and use any means necessary. We have no limits and performance is one part of our oeuvre. Experimentation and simply doing is our method."
Jurors: "How does working as a duo differ from / fit into each of your individual practices?"
Kaye Freeman/Amy Kaps: "We each have different skills, techniques and aesthetics and work without ego. We choose a topic and go at it very organically with as little blood shed as possible. We work together and then separately yet simultaneously."
Jurors: "What are your favorite coping strategies for the polycrisis?"
Kaye Freeman/Amy Kaps: "For Hibiscus TV it is Dance, dance, dance..
For Kaye it is drawing, meditation and Oscar, the dog. For Amy it is cannabis, conversation, lap swimming, beach walks and the knowledge that she is born of Joy"
Artist Statement
"Hibiscus TV is the convergence of two artistic minds: Kaye Freeman and Amy Kaps. Celebrating the imperfect in a world that demands perfection, we intentionally challenge the notions dictating what female artists over sixty can or should do.
Addressing climate change, consumerism, ageism, and inclusivity in a relatable, yet deeply moving and intelligent fashion. Utilizing universal archetypal mythologies and legends accessed by our varied backgrounds, we accentuate the symbiotic and collaborative kinship of society and nature and our impact on the ecosystem.
Free from convention, Hibiscus TV is a platform for unbridled creativity. Grounded in the absurd and authentic expression, we explore infinite possibilities. Each film or performance has minimal to zero narrative and, although topic-based, is beyond meaning, definition, and time. Creating our environments, costumes, props, puppets, and sounds according to each theme, Hibiscus TV is committed to using recycled and repurposed materials whenever possible.
The work is about the world we inhabit materially and metaphysically. A conversation between art and environment takes place as we witness phenomenal technological developments and exponential damage caused in our lifetime. Through the study of Art History, Philosophy, Religion, Psychology, and Science, we uncover the commonalities uniting us as a species."
HIBISCUS TV performed 1.2.3.4.5.6.7. at Highways Performance Space in Santa Monica November 2024. Sea Levels Rising at the LA Art Show for DIVERSEart LA in 2024; AIR in the Ebb and Flow Festival in 2023 at the LA State Historical Park organized by the Heidi Duckler Dance Company and at Building Bridges Art Exchange gallery at Bergamot Station in Santa Monica. Film screenings include The Comeback Festival, LA; New Film Festival Miami; Gallery 806, Santa Monica.
IMAGES FOR SALE:
breathing down your neck -10.42' H x 8.97" W
Giclée print on Hahnemühle paper
$200 unframed
Signed on back
it starts with an earthquake, birds and snakes- 14.22" H x 10.97" W
Giclée print on Hahnemühle paper
$200 unframed
Signed on back
no fear, cavalier renegade -11.9" H x 12.5" W
Addressing climate change, consumerism, ageism, and inclusivity in a relatable, yet deeply moving and intelligent fashion. Utilizing universal archetypal mythologies and legends accessed by our varied backgrounds, we accentuate the symbiotic and collaborative kinship of society and nature and our impact on the ecosystem.
Free from convention, Hibiscus TV is a platform for unbridled creativity. Grounded in the absurd and authentic expression, we explore infinite possibilities. Each film or performance has minimal to zero narrative and, although topic-based, is beyond meaning, definition, and time. Creating our environments, costumes, props, puppets, and sounds according to each theme, Hibiscus TV is committed to using recycled and repurposed materials whenever possible.
The work is about the world we inhabit materially and metaphysically. A conversation between art and environment takes place as we witness phenomenal technological developments and exponential damage caused in our lifetime. Through the study of Art History, Philosophy, Religion, Psychology, and Science, we uncover the commonalities uniting us as a species."
HIBISCUS TV performed 1.2.3.4.5.6.7. at Highways Performance Space in Santa Monica November 2024. Sea Levels Rising at the LA Art Show for DIVERSEart LA in 2024; AIR in the Ebb and Flow Festival in 2023 at the LA State Historical Park organized by the Heidi Duckler Dance Company and at Building Bridges Art Exchange gallery at Bergamot Station in Santa Monica. Film screenings include The Comeback Festival, LA; New Film Festival Miami; Gallery 806, Santa Monica.
IMAGES FOR SALE:
breathing down your neck -10.42' H x 8.97" W
Giclée print on Hahnemühle paper
$200 unframed
Signed on back
it starts with an earthquake, birds and snakes- 14.22" H x 10.97" W
Giclée print on Hahnemühle paper
$200 unframed
Signed on back
no fear, cavalier renegade -11.9" H x 12.5" W
Giclée print on Hahnemühle paper
$200 unframed
Signed on back
Amy Kaps and Kaye Freeman
aka HIBISCUS TV
hibiscustvblossoms@gmail.com
$200 unframed
Signed on back
Amy Kaps and Kaye Freeman
aka HIBISCUS TV
hibiscustvblossoms@gmail.com
Kaye Freeman & Amy Kaps (aka Hibiscus TV)/The Void
Kaye Freeman & Amy Kaps (aka Hibiscus TV)/ Women's Day 2025
Terri Lloyd/Date Night
TERRI LLOYD:
"Zen in one hand, Gonzo in the other.
My journey will end the way it began, with a poop story. In between diapers and Depends I spent 25 years as a print media designer. Volunteerism and community art projects have been a prominent part my activities.
In 2010 I founded The Haggus Society, a non-profit feminist arts group for women over the age of 40.
I have been a frequent contributor to independent publisher, Black Scat Books.
Under the Black Scat imprint, I authored two books.
One as my performance character, Pink Buddha, When I Grow Up And Other Mantras. And the other, The Little Red Book Of Commie Porn a collaboration with artist Norman Conquest. Both are now out of print.
In 2013 I suffered a series of small strokes forcing me to shutter the doors of The Haggus Society.
The death of my father in late 2017 was the catalyst for my return to painting. Using a process of unlearning I created my “Other Hand” series.
During the pandemic lock-down of 2020 prompted me to move beyond the canvas and explore other manifestations of art making.
Weirdos collect my work."
IMAGES FOR SALE:
Tabouli and Beer
10 x 13 inches
Delirium Tremens
10 x 14 inches
Date Night
10 x 13 inches
www.terrilloyd.net
www.instagram.com/terrilloydartist/
"Zen in one hand, Gonzo in the other.
My journey will end the way it began, with a poop story. In between diapers and Depends I spent 25 years as a print media designer. Volunteerism and community art projects have been a prominent part my activities.
In 2010 I founded The Haggus Society, a non-profit feminist arts group for women over the age of 40.
I have been a frequent contributor to independent publisher, Black Scat Books.
Under the Black Scat imprint, I authored two books.
One as my performance character, Pink Buddha, When I Grow Up And Other Mantras. And the other, The Little Red Book Of Commie Porn a collaboration with artist Norman Conquest. Both are now out of print.
In 2013 I suffered a series of small strokes forcing me to shutter the doors of The Haggus Society.
The death of my father in late 2017 was the catalyst for my return to painting. Using a process of unlearning I created my “Other Hand” series.
During the pandemic lock-down of 2020 prompted me to move beyond the canvas and explore other manifestations of art making.
Weirdos collect my work."
IMAGES FOR SALE:
Tabouli and Beer
10 x 13 inches
Delirium Tremens
10 x 14 inches
Date Night
10 x 13 inches
www.terrilloyd.net
www.instagram.com/terrilloydartist/
Terri Lloyd/Delerium Tremens
Terri Lloyd/Tabouleh and Beer
Monica Marks/Need An Adjustment
MONICA MARKS:
"I shine a light on hidden identities, disabilities, and emotions—making visible what is so often kept out of sight. My art confronts biases and social norms rooted in misogyny, ableism, racism, body-shaming, and anti-Semitism, challenging the stigma around mental illness and normalizing the need for help. My background as an Art Therapist and my own journey with depression, anxiety, and neurodiversity deeply inform my practice, allowing me to infuse each piece with lived experience and ongoing self-discovery.
Working in mixed media, I let the theme guide my materials—sculpted forms, paint, ephemera, found objects, and collage all find their place in my evolving process. Sometimes I cut words and images from vintage magazines; other times, I assemble weathered wood and rusted metal. Recently, I’ve moved to larger surfaces, experimenting with new textures and compositions, always eager to push my work in new directions.
My influences include Edward Kienholz, whose immersive installations first showed me the power of raw, found objects, and Tracey Emin, whose autobiographical work inspires me to bring vulnerability and truth to the surface. Joseph Cornell’s shadow boxes, with their “cast off and discarded artifacts,” have shaped my approach to design and materials. Michael McMillen’s Central Meridian (The Garage)—a walk-in assemblage evoking the memory and mystery of a lived-in space through midcentury detritus—has also deeply influenced how I use found objects to create immersive, narrative environments.
For my first solo show, “What We Hide: An Exploration of Hidden Disability and Identity,” I created “The Mask Series”—handmade plaster masks on canvas that explore the tension between inner and outer selves. By exposing my own emotional landscape, I hope viewers see their own hidden struggles reflected and feel less alone.
Whether I’m addressing gender inequality, white privilege, or the lived reality of anxiety, my goal is to create art that speaks to those who feel isolated or pressured to hide their true selves. I want my work to be a reminder: you are not alone, and what’s hidden deserves to be seen."
Monica Marks is a Los Angeles-based painter and sculptor known for her innovative use of found and recycled materials. Her mixed media works are realized as both wall and pedestal pieces, combining painting and sculpture in unexpected ways. As an expressionist, Monica balances assemblage and contemporary art, often addressing themes of invisible disabilities and identity.
Monica holds a BA in Art from California State University, Northridge, and an MA in Clinical Art Therapy from Loyola Marymount University. She is an annual resident artist at Desert Dairy in 29 Palms and, this year, also attended an awarded residency at Playa Summer Lake. Monica draws inspiration from objects with history, finding beauty in the discarded. Her work has earned recognition, including second place in "Collector's Choice" at Studio Channel Islands Art Center and awards at the 36th and 37th Annual All Media Juried Exhibitions at MOAH Cedar. Her recent solo installation, "Mindful Currents," curated by James MacDevitt, featured a large multimedia jellyfish aquarium at Cerritos College, offering a meditative experience for visitors.
Monica currently has work featured in "Opulent Mobility" at the Brand Library & Art Center in Glendale, curated by A. Laura Brody and Anthony Tusler. She currently maintains a studio at The Los Angeles Makery in Little Tokyo.
Monica’s upcoming solo show, "Abandoned," opens October 25, 2025, at Gallery 825 in West Hollywood, exploring the visual and emotional resonance of abandoned homesteads in Wonder Valley and Twentynine Palms, CA.
IMAGES FOR SALE:
Adjustment - 14” Square
Archival Paper
$404 Unframed
I Need An Adjustment - 14” Square
Archival Paper
$404 Unframed
Living The Dystopian Life - 11”H x 14”W
Archival Paper
$404 Unframed
Contact: Monica Marks
Monica@MonicaMarksArt.com
www.monicamarksart.com
www.instagram.com/monicamarksart
"I shine a light on hidden identities, disabilities, and emotions—making visible what is so often kept out of sight. My art confronts biases and social norms rooted in misogyny, ableism, racism, body-shaming, and anti-Semitism, challenging the stigma around mental illness and normalizing the need for help. My background as an Art Therapist and my own journey with depression, anxiety, and neurodiversity deeply inform my practice, allowing me to infuse each piece with lived experience and ongoing self-discovery.
Working in mixed media, I let the theme guide my materials—sculpted forms, paint, ephemera, found objects, and collage all find their place in my evolving process. Sometimes I cut words and images from vintage magazines; other times, I assemble weathered wood and rusted metal. Recently, I’ve moved to larger surfaces, experimenting with new textures and compositions, always eager to push my work in new directions.
My influences include Edward Kienholz, whose immersive installations first showed me the power of raw, found objects, and Tracey Emin, whose autobiographical work inspires me to bring vulnerability and truth to the surface. Joseph Cornell’s shadow boxes, with their “cast off and discarded artifacts,” have shaped my approach to design and materials. Michael McMillen’s Central Meridian (The Garage)—a walk-in assemblage evoking the memory and mystery of a lived-in space through midcentury detritus—has also deeply influenced how I use found objects to create immersive, narrative environments.
For my first solo show, “What We Hide: An Exploration of Hidden Disability and Identity,” I created “The Mask Series”—handmade plaster masks on canvas that explore the tension between inner and outer selves. By exposing my own emotional landscape, I hope viewers see their own hidden struggles reflected and feel less alone.
Whether I’m addressing gender inequality, white privilege, or the lived reality of anxiety, my goal is to create art that speaks to those who feel isolated or pressured to hide their true selves. I want my work to be a reminder: you are not alone, and what’s hidden deserves to be seen."
Monica Marks is a Los Angeles-based painter and sculptor known for her innovative use of found and recycled materials. Her mixed media works are realized as both wall and pedestal pieces, combining painting and sculpture in unexpected ways. As an expressionist, Monica balances assemblage and contemporary art, often addressing themes of invisible disabilities and identity.
Monica holds a BA in Art from California State University, Northridge, and an MA in Clinical Art Therapy from Loyola Marymount University. She is an annual resident artist at Desert Dairy in 29 Palms and, this year, also attended an awarded residency at Playa Summer Lake. Monica draws inspiration from objects with history, finding beauty in the discarded. Her work has earned recognition, including second place in "Collector's Choice" at Studio Channel Islands Art Center and awards at the 36th and 37th Annual All Media Juried Exhibitions at MOAH Cedar. Her recent solo installation, "Mindful Currents," curated by James MacDevitt, featured a large multimedia jellyfish aquarium at Cerritos College, offering a meditative experience for visitors.
Monica currently has work featured in "Opulent Mobility" at the Brand Library & Art Center in Glendale, curated by A. Laura Brody and Anthony Tusler. She currently maintains a studio at The Los Angeles Makery in Little Tokyo.
Monica’s upcoming solo show, "Abandoned," opens October 25, 2025, at Gallery 825 in West Hollywood, exploring the visual and emotional resonance of abandoned homesteads in Wonder Valley and Twentynine Palms, CA.
IMAGES FOR SALE:
Adjustment - 14” Square
Archival Paper
$404 Unframed
I Need An Adjustment - 14” Square
Archival Paper
$404 Unframed
Living The Dystopian Life - 11”H x 14”W
Archival Paper
$404 Unframed
Contact: Monica Marks
Monica@MonicaMarksArt.com
www.monicamarksart.com
www.instagram.com/monicamarksart
Monica Marks/Adjustment
Monica Marks/Living the Dystopian Life
Nadine Levin/Keeping Myself from Scrolling the News
NADINE LEVIN:
Nadine Levin is primarily a lens-based artist residing in San Mateo California. Nadine began her photographic pursuit in her mid-career years using an inherited film camera. She fell in love with the versatility of telling stories and seeing life through a lens. While her love is film and making and collecting black and white images, she adapted to digital platforms and processing due to the lack of darkroom accessibility. In moving to the digital world her work began to include color.
Mostly self-taught, she has sought opportunities to learn from well-known contemporary photographers and by studying the work of illustrative 20th and 21st century photographers.
Nadine’s work focuses on conceptual, documentary and abstract photography. The themes, capture and printing methods are varied and develop as life unfolds before her. Of late she has focused on personal narrative work and uses self-portraiture as a significant element in her story telling.
She has displayed her work in both juried and invitational group shows. Nadine’s work is held in private and public collections, and she is the recipient of recognition at the local, regional, national and international level.
www.nadineplevin.com
www.instagram.com/nlevin68
Nadine Levin is primarily a lens-based artist residing in San Mateo California. Nadine began her photographic pursuit in her mid-career years using an inherited film camera. She fell in love with the versatility of telling stories and seeing life through a lens. While her love is film and making and collecting black and white images, she adapted to digital platforms and processing due to the lack of darkroom accessibility. In moving to the digital world her work began to include color.
Mostly self-taught, she has sought opportunities to learn from well-known contemporary photographers and by studying the work of illustrative 20th and 21st century photographers.
Nadine’s work focuses on conceptual, documentary and abstract photography. The themes, capture and printing methods are varied and develop as life unfolds before her. Of late she has focused on personal narrative work and uses self-portraiture as a significant element in her story telling.
She has displayed her work in both juried and invitational group shows. Nadine’s work is held in private and public collections, and she is the recipient of recognition at the local, regional, national and international level.
www.nadineplevin.com
www.instagram.com/nlevin68
Nadine Levin/I Need Some Alone Time
Nadine Levin/Listening to Myself Chum
Norman Aragones/Food Wars
NORMAN ARAGONES:
"The main paradigm in my photographic art revolves around the concept of depth (having some level of meaning within the photo and thus attempting to elicit a viewer's reaction through deliberate imagery).
My hope is that the viewer comes away with some feeling, idea, and/or perspective from seeing my photo(s). The techniques I use in creating photographic images are not something specific. I just try to work diligently in creating something in particular (that I had envisioned previously in my mind's eye)."
IMAGES FOR SALE:
Grandmother Praying
16" H x 20" W
Acrylic
$300
Limited edition of 10
Signed on back
Untitled
10" H x 10" W
Metal
$300
Limited edition of 10
Signed on back
Food Wars
16" H x 24" W
Metal
$400
Limited edition of 10
Signed on back
Contact: Norman Aragones
norm560478@yahoo.com
"The main paradigm in my photographic art revolves around the concept of depth (having some level of meaning within the photo and thus attempting to elicit a viewer's reaction through deliberate imagery).
My hope is that the viewer comes away with some feeling, idea, and/or perspective from seeing my photo(s). The techniques I use in creating photographic images are not something specific. I just try to work diligently in creating something in particular (that I had envisioned previously in my mind's eye)."
IMAGES FOR SALE:
Grandmother Praying
16" H x 20" W
Acrylic
$300
Limited edition of 10
Signed on back
Untitled
10" H x 10" W
Metal
$300
Limited edition of 10
Signed on back
Food Wars
16" H x 24" W
Metal
$400
Limited edition of 10
Signed on back
Contact: Norman Aragones
norm560478@yahoo.com
Norman Aragones/Grandmother Praying
Norman Aragones/Untitled
Christos J. Palios/Mezzanine Fountain-LA Theater
HONORABLE MENTION
HONORABLE MENTION
CHRISTOS J. PALIOS:
'Architecture of Gilded Dreams'
"The early 20th-century ushered in an audaciously romantic American gem: the picture-palace. As "movie magic" permeated the public's sensibility, pleasure domes of unrivaled artifice and euphoric pageantry swiftly sprouted up across the nation. Architect-designers embodied splendor of ancient temples, Renaissance palaces, and European opera houses, sparing no expense in revival treatments of Gothic, Baroque, Rococo, Neoclassical, Art Nouveau, and Art Deco. Intersections of architecture and ornamentation set foundations for built environments, ultimately galvanizing picture-palaces into cultural nexuses. For a few cents visitors were transported into enchanting “playhouses” of exotic cultures—cinema's glamour revamped the significance of theatres as treasured gathering places.
I am captivated by the monumental grandeur before me; spaciousness, symmetry, and precise sight lines immerse me. Each interior's architectural proportions and eclectic ornamentation reveals the competitive edge palace designers sought to mesmerize patrons.Despite their geographic separation, each theatre represents an orchestration of distinct disciplines into singular harmonies.
Stripped of customary visitors and photographed using ambient lighting, a typology of diverse decorative expression takes form—allegorical motifs, silky damask, gilded surfaces, elaborate staircases, and intricate carving befitting majesty and spectacle. In spaces where fiction is divided from reality by the veil of a proscenium, a firm quietude surrounds me within these historic bedecked walls, reflecting back the souls of magnificent places. Time seems to have paused here as past resonates deeply into present.
Post WWII saw the gradual coup de grâce of the picture-palace golden era; suburban exodus, urban renewal, financial hardship, anti-trust legislation, and television led to declines in attendance, and ultimately, to neglect and disrepair. Original survivors scattered throughout America were repurposed and restored into performing arts centers and concert venues.
As custodians of a bygone era, if these iconic environments could speak I imagine a deluge of sensational stories.
Their imposingly sublime beauty and flamboyance showcases a sociocultural allure of assembly, storytelling, and opulence.
The advent of moving pictures as broadly accessible entertainment subverted class distinctions conventionally upheld in classical theatre. George Rapp of early 20th-century architectural firm Rapp & Rapp stated: “Here is a shrine to democracy where the wealthy rub elbows with the poor.” A century later, as citizens embrace ever-shifting connections in consumerist cultures, I am intrigued by these distinguished social nexuses and my aim is to preserve their historic relevance and rich memories."
As a first-generation Greek-American, Christos' perspectives were shaped by two disparate and fascinating cultures. The artist's practice is born from a wellspring of inspiration among themes of memory, connection, and identity, consummated by intimate examinations of history, architecture, and socioeconomics. Employing multifaceted approaches rooted in research and with an appreciation of metaphorical and physical space, the artist's photographs evoke compelling, palpable awareness through distinct narratives and cohesive aesthetics. For as long as Christos can recall, photography’s remarkable capacity to communicate ideas and narratives inspire the artist to embody insight and intent within the frame. He has pursued my fine art full-time since 2006.
All images belong to limited editions and are available in multiple sizes as archival cotton pigment prints.
'Architecture of Gilded Dreams'
"The early 20th-century ushered in an audaciously romantic American gem: the picture-palace. As "movie magic" permeated the public's sensibility, pleasure domes of unrivaled artifice and euphoric pageantry swiftly sprouted up across the nation. Architect-designers embodied splendor of ancient temples, Renaissance palaces, and European opera houses, sparing no expense in revival treatments of Gothic, Baroque, Rococo, Neoclassical, Art Nouveau, and Art Deco. Intersections of architecture and ornamentation set foundations for built environments, ultimately galvanizing picture-palaces into cultural nexuses. For a few cents visitors were transported into enchanting “playhouses” of exotic cultures—cinema's glamour revamped the significance of theatres as treasured gathering places.
I am captivated by the monumental grandeur before me; spaciousness, symmetry, and precise sight lines immerse me. Each interior's architectural proportions and eclectic ornamentation reveals the competitive edge palace designers sought to mesmerize patrons.Despite their geographic separation, each theatre represents an orchestration of distinct disciplines into singular harmonies.
Stripped of customary visitors and photographed using ambient lighting, a typology of diverse decorative expression takes form—allegorical motifs, silky damask, gilded surfaces, elaborate staircases, and intricate carving befitting majesty and spectacle. In spaces where fiction is divided from reality by the veil of a proscenium, a firm quietude surrounds me within these historic bedecked walls, reflecting back the souls of magnificent places. Time seems to have paused here as past resonates deeply into present.
Post WWII saw the gradual coup de grâce of the picture-palace golden era; suburban exodus, urban renewal, financial hardship, anti-trust legislation, and television led to declines in attendance, and ultimately, to neglect and disrepair. Original survivors scattered throughout America were repurposed and restored into performing arts centers and concert venues.
As custodians of a bygone era, if these iconic environments could speak I imagine a deluge of sensational stories.
Their imposingly sublime beauty and flamboyance showcases a sociocultural allure of assembly, storytelling, and opulence.
The advent of moving pictures as broadly accessible entertainment subverted class distinctions conventionally upheld in classical theatre. George Rapp of early 20th-century architectural firm Rapp & Rapp stated: “Here is a shrine to democracy where the wealthy rub elbows with the poor.” A century later, as citizens embrace ever-shifting connections in consumerist cultures, I am intrigued by these distinguished social nexuses and my aim is to preserve their historic relevance and rich memories."
As a first-generation Greek-American, Christos' perspectives were shaped by two disparate and fascinating cultures. The artist's practice is born from a wellspring of inspiration among themes of memory, connection, and identity, consummated by intimate examinations of history, architecture, and socioeconomics. Employing multifaceted approaches rooted in research and with an appreciation of metaphorical and physical space, the artist's photographs evoke compelling, palpable awareness through distinct narratives and cohesive aesthetics. For as long as Christos can recall, photography’s remarkable capacity to communicate ideas and narratives inspire the artist to embody insight and intent within the frame. He has pursued my fine art full-time since 2006.
All images belong to limited editions and are available in multiple sizes as archival cotton pigment prints.
Christos J. Palios/Los Angeles Theater
Christos J.Palios/Fox Theater
Christos J. Palios/Paramount Theater-Grand Lobby
Christos J. Palios/Paramount Theater-Womens Lounge-Detail
Renming Liu/The Vanishing Point-1
HONORABLE MENTION
HONORABLE MENTION
RENMING LIU:
The Vanishing Point
Two parallel lines once met at an angle—
They crossed, then parted,
never to meet again.
"I make images to unlearn what it means to be happy, to be beautiful. In turning the lens on myself, I ask — what if simply being is enough In the quiet corners of the street, I find reflections, empty storefronts, and things left behind. The unnoticed becomes visible. The ordinary, sacred. This is how I look. And how I see."
https://www.instagram.com/rnmngphotos/
The Vanishing Point
Two parallel lines once met at an angle—
They crossed, then parted,
never to meet again.
"I make images to unlearn what it means to be happy, to be beautiful. In turning the lens on myself, I ask — what if simply being is enough In the quiet corners of the street, I find reflections, empty storefronts, and things left behind. The unnoticed becomes visible. The ordinary, sacred. This is how I look. And how I see."
https://www.instagram.com/rnmngphotos/
Renming Liu/The Vanishing Point-2
Renming Liu/The Vanishing Point-3
Robert Gideon/America the Beautiful
ROBERT GIDEON:
"Photography is fundamentally documentary. Whether it be the simple act of recording a moment in time for others to experience later, or the more complex layering of emotion and interpretation onto a black and white canvas, ultimately the best photographic works communicate effectively to the viewer to elicit an emotional reaction.
I find my photographic art at the intersection of human empathy and emotion with a desire to express my understanding and appreciation of the small wonders in the world around me. I’ve often heard artists express a deep need to paint regardless of whether anyone else sees or appreciates their work. I feel similarly, but for me it is a compulsion to visually scan the world around me for subtle patterns and meaning in context and shadow. My artistic practice consists of daily visual meditation on these oft overlooked and humble features. It’s there that I find transcendent beauty and it's my hope that through my photos I may help the viewer to appreciate it as well."
Originally from the east coast, Robert Gideon has called Los Angeles home for the past 10 years. An engineer by training, he brings a careful and measured eye to his photographic work, tempered by a deep understanding of the technology being used and its limitations. Robert is largely self-taught and first learned the art of photography using his dad’s Exakta Varex IIa back in the 1980’s, shooting black and white negatives and developing them in his high school dark room. He is an award-winning photographer whose work is held in private collections. His photos have been on exhibit in juried group shows in the SoCal area as well as in galleries, museums, and community art spaces across the United States.
www.robertgideonphotography.org
https://www.instagram.com/robert_gideonxyz/
"Photography is fundamentally documentary. Whether it be the simple act of recording a moment in time for others to experience later, or the more complex layering of emotion and interpretation onto a black and white canvas, ultimately the best photographic works communicate effectively to the viewer to elicit an emotional reaction.
I find my photographic art at the intersection of human empathy and emotion with a desire to express my understanding and appreciation of the small wonders in the world around me. I’ve often heard artists express a deep need to paint regardless of whether anyone else sees or appreciates their work. I feel similarly, but for me it is a compulsion to visually scan the world around me for subtle patterns and meaning in context and shadow. My artistic practice consists of daily visual meditation on these oft overlooked and humble features. It’s there that I find transcendent beauty and it's my hope that through my photos I may help the viewer to appreciate it as well."
Originally from the east coast, Robert Gideon has called Los Angeles home for the past 10 years. An engineer by training, he brings a careful and measured eye to his photographic work, tempered by a deep understanding of the technology being used and its limitations. Robert is largely self-taught and first learned the art of photography using his dad’s Exakta Varex IIa back in the 1980’s, shooting black and white negatives and developing them in his high school dark room. He is an award-winning photographer whose work is held in private collections. His photos have been on exhibit in juried group shows in the SoCal area as well as in galleries, museums, and community art spaces across the United States.
www.robertgideonphotography.org
https://www.instagram.com/robert_gideonxyz/
Robert Gideon/Taipei Scooter
Robert Gideon/Transfiguration
Yiding Chen/Fantasy Accident
YIDING CHEN:
Yiding Chen (b. 2001) is an artist currently living and working between Shanghai and London. He received his BA from East China Normal University and is currently pursuing an MA in Photography at the Royal College of Art.
Using images as both medium and method, his practice explores the subtle power dynamics embedded in visual culture, particularly how images function as forms of social interaction. Through material reconstruction and intervention, he examines the relationships between image-making and personal experience, collective consciousness, social norms, and structures of power.
IMAGES FOR SALE:
Instruction of Using OK Lens-11"H x 14" W- Inkjet Print-$300 unframed-Limited edition of 15-Signed on back
How to Using a Fork-11"H x 28" W- Inkjet Print-$450 unframed-Limited edition of 15-Signed on back
Masculinity-11"H x 14" W- Inkjet Print-$300 unframed-Limited edition of 15-Signed on back
I'm Fine-11"H x 14" W- Inkjet Print-$300 unframed-Limited edition of 15-Signed on back
Fantasy Accident- Inkjet Print-$300 unframed-Limited edition of 15-Signed on back
Towards doom or the darkroom-$300 unframed-Limited edition of 15-Signed on back
Contact: Yiding Chen shawnlsh@163.com
Yiding Chen (b. 2001) is an artist currently living and working between Shanghai and London. He received his BA from East China Normal University and is currently pursuing an MA in Photography at the Royal College of Art.
Using images as both medium and method, his practice explores the subtle power dynamics embedded in visual culture, particularly how images function as forms of social interaction. Through material reconstruction and intervention, he examines the relationships between image-making and personal experience, collective consciousness, social norms, and structures of power.
IMAGES FOR SALE:
Instruction of Using OK Lens-11"H x 14" W- Inkjet Print-$300 unframed-Limited edition of 15-Signed on back
How to Using a Fork-11"H x 28" W- Inkjet Print-$450 unframed-Limited edition of 15-Signed on back
Masculinity-11"H x 14" W- Inkjet Print-$300 unframed-Limited edition of 15-Signed on back
I'm Fine-11"H x 14" W- Inkjet Print-$300 unframed-Limited edition of 15-Signed on back
Fantasy Accident- Inkjet Print-$300 unframed-Limited edition of 15-Signed on back
Towards doom or the darkroom-$300 unframed-Limited edition of 15-Signed on back
Contact: Yiding Chen shawnlsh@163.com
Yiding Chen/How to Use a Fork
Yiding Chen/I'm Fine
Yiding Chen/Instruction of Using OK Lens
Yiding Chen/Masculintiy
Yiding Chen/Towards doom or the Darkroom
www.chenyiding.work
https://www.instagram.com/yidinger_c/
__________________________
https://www.instagram.com/yidinger_c/
__________________________
It's the End of the World As We Know It (And I Feel Fine) HOME:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot
FIRST PLACE:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/first-place-kaye-freeman-amy-kaps-aka-hibiscus-tv-no-fear-cavalier-renegade----/1
HONORABLE MENTIONS:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/honorable-mentions-christos-j-palios-mezzanine-fountain-los-angeles-theatre-renming-liu-vanishing-point-1-kathryn-dunlevie-persephone-amy-kaps-world-serves-its-own-needs/1
BEST SERIES:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/best-series-lee-dong-seon-the-scenery-inside-me----/1
EXHIBITION #1:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-1/1
EXHIBITION #2:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-2/1
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot
FIRST PLACE:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/first-place-kaye-freeman-amy-kaps-aka-hibiscus-tv-no-fear-cavalier-renegade----/1
HONORABLE MENTIONS:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/honorable-mentions-christos-j-palios-mezzanine-fountain-los-angeles-theatre-renming-liu-vanishing-point-1-kathryn-dunlevie-persephone-amy-kaps-world-serves-its-own-needs/1
BEST SERIES:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/best-series-lee-dong-seon-the-scenery-inside-me----/1
EXHIBITION #1:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-1/1
EXHIBITION #2:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-2/1
