AN Archive of SPace 4 Art Curated exhibitions


Opening Reception Friday March 3rd

Exhibit Run: March 4-12th

Gallery hours: 11am-4pm Wednesday - Friday

Medium | .me·di·um | ˈmēdēəm (noun)
The intervening substance through which impressions are conveyed to the senses or a force acts on objects at a distance.

“Physiologically, man in the normal use of technology (or his variously extended body) is perpetually modified by it and in turn finds new ways of modifying his technology. Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and evolve ever new forms.”
 - Samuel Butler, Erewhon: Or, Over the Range, 1872

The technologies that connect information across the globe have become so vastly encompassing as to be difficult to see. These global networks have begun to obliterate boarders of all kinds including the boarders that constitute the self. In order to gain new perspective on some of these mediums of information I transform modern technological imagery into human scaled environments. These environments themselves become a medium for expressing the conflict of identity as the self distorts, multiplies, and dissolves into the collective consciousness.


Virtually There

Opening Reception: 6-9pm, Saturday, January 28

Exhibit Run: January 28 - February 26

Gallery hours: 11am-4pm Wednesday - Friday

Virtually There presents six emerging San Diego artists whose work inhabit virtual spaces. Exploring how individual and societal identities are shaped by the connectivity possibly through digital and network technologies. Featuring the work of Stefani Byrd, Gabi Schaffzin, Rebekah Blesing, Zachary Kaiser, Jessica Frelund, and Jessica M Buie.

Facebook event here


A Mystical Journey: My Evolutionary Experience

by Barbara Gothard

OPENING RECEPTION: Saturday, January 7th, 6-9pm.

Gallery Hours: 11am-4pm Wednesday-Friday(Not Saturday)

Other days by appointment only.

Exhibit Run: January 7th-21st

Barbara Gothard is a Palm Springs, California-based artist whose approach to her artworks, and life, is evolution. Her complex paintings investigate contradictions, organic juxtaposed with abstract visual concepts. The contrasts reflect the cross-disciplinary linkages emanating from her global business and educational experiences. Themes include dream-like metaphors of hurdles, which convey the painting’s “story” of introspection, reflection and hope, by the viewer and the artist, a “fighting optimist”.

Facebook event information here


An empty meeting ground

by Gilbert Neri

An empty meeting ground is a place, or a time, where something might happen. It is also a place where something occurred prior to one’s arrival. In either case, an empty meeting ground is haunted with signs and clues that can be read like evidence from a crime scene. The events in these meeting grounds however are ephemeral and leave little trace of their existence, if any at all.


Exhibition runs: December 3 - December 20

Gallery Hours: 11-4PM, Wednesday-Saturday

Facebook event information here


[re]generation & [re]newal

a solo show by Jennifer de Poyen

October 23-November 19, 2016

Gallery hours 11-4 Wednesday to Saturday

OPENING Artist reception: 6-9 p.m. Saturday, Oct. 29, 2016

Jennifer de Poyen’s [re]generation & [re]newal is a series of paintings and prints created in the wake of her father’s diagnosis of terminal lung cancer. Using chance as an active partner in the creative process, she began working with ink on paper, an ephemeral, unforgiving medium. This seemed an apt means to explore the fragility of life, a theme that preoccupied her during the months that followed. Collectively, these brooding yet buoyant paintings offer a poignant meditation on the cycle of life, death, and regeneration. The exhibition is dedicated to the artist’s father, John St. Sauveur Poyen. A portion of the proceeds will be donated to the American Lung Association.

Read about the artist here

Facebook event information here

Image: Jennifer de Poyen,   Untitled #2  , ink on paper, 2016.   Private Collection

Image: Jennifer de Poyen, Untitled #2, ink on paper, 2016. Private Collection

The Secondary Intent





The Secondary Intent features two multi-media installations of objects and imagery by Ingram Ober and Marisol Rendón; one reconfiguring functionally obsolete objects, the other elevating objects from mundane to opulent. Ober and Rendón re-contextualize and/or memorialize surreal moments of low-culture kitsch, ornate beauty, and accepted principles of taste and pleasure. They share an appreciation for objects unapologetic for their origins and perhaps unsure of a new, or “Secondary Intent.” Can finely crafted, yet outdated, designs break free from their original aesthetics and renegotiate their value as decorative objects? What happens when disposable, consumer-driven choices are re-considered within the cannon of respected crafts? 

Facebook event page here

Read about the artist here

Marisol and Ingram Exhibit.jpg

The Aesthetics of Soft Colonies





The Aesthetics of Soft Colonies features two installations of projects by artist David White. These projects look at the changing landscape of city development in the context of the increasing trends of urban economic disparity, informal homeless encampments and oft-touted “innovation districts” so prevalent in local, national and international urban revitalization rhetoric. The first installation focuses on David’s project, TARP Reform, which is centered around the distribution of yellow vinyl tarps to the homeless population in East Village. The project also derives its name from the Federal T.A.R.P. (Troubled Asset Relief Program) bailout of 2008. The federal T.A.R.P. program was instituted as a response to the 2008 economic crisis which in large part was caused by speculative investments in predatory high-risk-mortgage-backed securities - i.e. brokers betting on home loans given to people who could not afford them at high interest rates. Inspired by the branding strategies and attention getting uses of the color yellow of both the newly completed Pinnacle at the Park building and yellow “Impounded Property” signage posted by the City of San Diego for the purposes of homeless encampment sweeps in the same area, the TARP Reform project began distributing yellow tarps in replacement of the typical blue tarps so often used by the homeless population as coverings for their belongings, as makeshift shelters and as ephemeral “homes.”

The second project, Rhetorical Displacements, is a video installation that appropriates regional branding videos promoting development interests in the guise of innovation districts, maker, craft cultures, and creative economies. The video juxtaposes the selective imagery and narratives of these development interests with the material realities and alternative narratives of people being adversely affected by these displacements. 


David White is an artist and educator who explores issues of urban development and how aesthetic forms are used in this process. For six years David ran Agitprop art space which used the form of the gallery as a tool for long term engagement with a particular locality. From 2010-2012 he helped to establish the Summer Salon Series at the San Diego Museum of Art which featured weekly performances, talks, readings and film screenings by a wide range of artists both international and local. His work have been covered by publications such as ArtForum and Wired.  He teaches art and architecture at Woodbury University and Southwestern and MiraCosta College.

Tenant Show

Inner Dimensions





Join Space 4 Art tenant, Jeremy Sicile-Kira as he opens his first solo exhibit! Curated by Maria Sanchez and Francisco Godinez.

Truly my life has been given meaning by the discovery that I have synesthesia. Justly my dreams that I had been having forever were nicely given a way to see the light of day when my mom encouraged me to paint my dreams. My great gift is the ability to read people’s emotions and translate them in my dreams into glorious paintings, creating portraits of each person’s inner self. My ability to paint the colors I see in my dreams is the greatest gift I have. I greatly hope my paintings inspire the best in each person.” – Jeremy Sicile-Kira

the frequency of something happening





Raw materials and textured layers of repetition play a central role in the work of both Joshua Moreno and Spencer Rabin. the frequency of something happening brings together the two San Diego-based artists for the first time, with works that use meditative and endurance-based processes to make concrete a sense of duration. Using materials such as graphite, charcoal, and video imagery to produce their abstract works, Moreno and Rabin create phenomenological occurrences with the human mark, sourcing inspiration from natural dichotomies, immeasurable expanses, and cyclical occurrences. Space 4 Art is proud to present these synergistic works which urge us to consider the depth of their pared-down forms.

TRACES: photographs by Ame Curtiss




Several years ago, whilst living in New York, Ame Curtiss wrote an essay titled The Things I Didn't Photograph. Much of the essay is a reminiscence of her earlier life in San Diego, a darkly funny lamentation for a fractured life, but hopeful around the edges. This is an exhibition of things that Ame Curtiss did photograph. But in many ways it is the pictures she left untaken that give these images their power: a presence that can’t be seen or photographed. Artist Peter Halasz, a long time friend and comrade of Curtiss, curates the exhibition with this in mind.





Sweeping Close is an exhibition of works exploring/inventing present-day mythologies using historic processes including cyanotype, the paper negative, and hand sewing.

SIEN Collective is the collaborative work of Siobhán Arnold and Meagan Shein.



7-10PM | Saturday, September 12

Space 4 Art’s “Response” Invites Sixteen Local Artists to Depart from Traditional Modes of Display

Space 4 Art’s biennial fall show focusing on artist collaborations returns with an emphasis on how art can be displayed in novel ways, viewed from different perspectives, and used to activate unexpected areas. Thanks to a grant from the San Diego Commission for Arts and Culture, Space 4 Art was able to support invited artists to consider new ways to re-contextualize their work, draw inspiration from the building and grounds to create site-specific pieces, and work together to create new and unexpected collaborations for "Response." 

The show features sixteen recognized local artists from a variety of disciplines working around the theme of shifting perspectives and creating responses to the buildings and grounds of Space 4 Art, as well each other’s work. "Response" includes installations, immersive sonic environments, interactive pieces, dance, and musical performances – both inside and outside, on-stage and in the ground. 

• NICHOLE SPECIALE and CURT D. MILLER use the gallery walls as antennae for overlapping radio frequencies, while AREN SKALMAN directs attention to the overlooked areas of Space 4 Art by transforming them into viewer activated speaker systems.

• C. REE encourages us to look up at a multi-tiered installation using the a drop-ceiling to explore the detritus and absurdity of modernism and development, and ARMANDO DE LA TORRE turns our attention to the history of the ground below through a dig into Space’s soil. 

• COOPER BAKER and CHRIS WARREN provide an immersive installation that envelops listeners in a field of sound, created in conjunction with a silhouetted “canvas” for the audience to walk across by ARIELLE REBEK. 

• Cradle to Grave (BATYA MACADAM-SOMER, BONNIE LANDER, MEGHANN WELSH) create a dream-like reflective environment adjacent to a suspended piece by KATHY NIDA that delves into the female subconscious. 

• SELF ESTEEM (VABIANNA SANTOS and CLINT McCALLUM) bring music that has been described as “queer zen” and “death trip” to the Space 4 Art stage under a woven cylinder piece of various textiles piece by VALERIE HASTIE. 

• Self-described “dance maker” LESLIE SEITERS creates a serious of prompts to be interpreted by multiple performers throughout the exhibition run.

The opening reception will feature dance and music performances as well as Space 4 Art open studios, refreshments, and a food truck. 

Show Run: September 12 – October 10, 2015



art Adam Belt, Lana Z Caplan, Francisco Eme, David White, Matthew Hebert, Andrew Hunter, Morgan Mandalay, Max Nanis,Gabie Strong, !ZeuqsaV!

music by PRGRM w/ HEXA

curated by Lianne Thompson Mueller
co-curated by Rebecca Webb

August 15, 2015

The artists of Space 4 Art curatorial group have enthusiastically invited A SHIP IN THE WOODS to curate a summer art event while their galleries sit vacant between exhibitions. This show is an Indiegogo fundraiser for A SHIP IN THE WOODS to help develop a new residency program, educational wing, and recording studio for their new location soon TBA! 

Lana Z Caplan brings to us her visual interpretations from Yoko Ono’s book Grapefruit. Adam Belt’s artwork illuminates images, which slowly appear from a barren frame of blackness. Morgan Mandalay challenges us to pause our mind and become the looker. Francisco Eme manipulates simple elements using natural reflection, refraction, and diffraction of sound to create an ethereal soundscape. Gabie Strong and Matthew Hebert bring us a tactile curtain of light and sound. These artists address question “Can we hear and see things differently for just a moment and how?”


May 23 - June 13, 2015

In the latter part of the 20th century, “sprawl” emerged as the most prevalent and contentious form of built environment in North America. While sprawl garnered significant theoretical attention, the first part of the 21st century seemed to be without a similar icon of North American urban development. MEGABLOCK contends that a new icon can now be visually identified in North American urban cores, signifying the ideology of sprawl re-embedding itself downtown cloaked and marketed as “density.” 

Downtown San Diego’s East Village is in the midst of a glut of construction: exclusively either residential/commercial complexes occupying entire city blocks, or “Vancouver”-style towers. Considering the speculative culture of real estate development, it is unclear where the demand for this new surplus of exclusive space is coming from, and whether there will be any infrastructural accommodations made for the influx of new residents that all of this space theoretically necessitates. Furthermore, the slick, contemporary facades of these buildings stand in stark contrast, and seem tone-deaf to the civic dereliction perceivable everywhere in their vicinity.

MEGABLOCK acts as a counter-mythology for the rhetoric surrounding urban renewal, which obscures the realities of redevelopment, and it responds to the lack of visibility, resources, and options for East Village’s homeless population. The works were built through a series of data-collecting excursions undertaken by classes from NewSchool of Architecture and Design. Students from UCSD’s Social Engagement in Photography class and NewSchool also contributed to this exhibition.

The walls of Space 4 Art will act as a platform for displays produced by contributing artists Shane Anderson, James Enos, Elizabeth Hensley C., and Charles G. Miller; as well as a selection of materials produced through Periscope Project, a nonprofit organization committed to committed to art, architecture, and regional urban issues formerly housed in 5 shipping containers in the East Village.

The exhibit will include unique gelatin silver paper negatives from the East Village by Shane Anderson, drawings and text by James Enos, a wall diagram by Elizabeth Hensley C., video by Charles G. Miller, a collaborative installation with the artists of Space 4 ArtUCSD's Photography Program currently enrolled in Social Engagement in Photography, and NewSchool of Architecture and Design.

the spoils

MARCH 21-APRIL 11, 2015

Space 4 Art presents the spoils an exhibit of new work by Carlos Castro Arias and J Noland. Using the neighborhood and grounds of Space 4 Art as their source material, Castro and Noland engaged in a collaborative process to explore the contradictions and inspirations they encountered. Considering the ever-changing dynamics of the city, while accumulating ephemera from the surrounding area, the artists created the exhibit with a nod to their respective backgrounds. While Castro, who recently moved to San Diego, reflects on sedentary and nomadic lifestyles related to the neighborhood environment, Noland, a local of many years, finds a foothold in the stereotypes of a mythic San Diego. Diverse forms emerge from re-contextualized objects, and the “natural” systems of Space 4 Art’s 16th Street lot come into play in the spoils.


Carlos Castro Arias was born in Bogota, Colombia, and received an MFA from SFAI in 2010. He was nominated for the Luis Caballero prize (2013), one of Colombia’s most prestigious awards, received a Fulbright award (2008), and recent exhibits include Old News of the Present (2014) at 21st Projects in New York City, Accidental Beauty (2013) at Museo Santa Clara, and Bogotapolis at the Stenersen Museum, in Oslo, Norway. He is an Assistant Professor of Painting at SDSU.

J Noland was born in Indiana, and has an MFA from UCSD in 2014. Solo exhibits include, Thank you for being a friend (2011), How the west was fun (2014), and Shooting the shit (2011) at Helmuth Projects, San Diego. He is a member of the URADNZA artist collective, “saying the least and saying it loud.”


NOVEMBER 8-26, 2014

Lucette is a collaborative exhibition by Brooks Dierdorff, Jared Haug, and Kyle Thompson. Using as inspiration the survival story of the Robertson Family, whose sailboat The Lucette was sunk by killer whales in the middle of the Pacific Ocean in 1971, Lucette explores ideas about fate and chance, fear and boredom, enforced leisure, and temporal plasticity. Dierdorff, Haug, and Thompson chart the effects of a situation in which, as survivor Douglas Robertson reflected years later, “One part of you craves normality but the boundaries have been moved so far you can’t really do that.”


Jared Haug received his MFA from the University of Oregon. Past exhibitions include Pacific Sky, Eugene OR; Rocksbox, 12128, and Recess, all Portland, OR; and Human Resources, Los Angeles, CA. Haug was a co-founding member of Ditch Projects in Springfield, OR. He teaches art at Oregon Coast Community College, Newport.

Kyle J Thompson is an interdisciplinary artist working across scales and materials. He is a co-founder and director of 12128, an experimental exhibition space in Portland, Oregon, and formerly was an adjunct faculty member in the Department of Chemistry at Lewis & Clark College. He currently attends the MFA program at the University of California San Diego. Incorporating chemical theory into performance, video, and 3D renderings, Thompson’s work elucidates a flawed relationship to the sub-microscopic through empirical explorations of matter, coupled with an action-based physical impulsivity. Allowing these dissonant worlds to intersect generates a nonlinear type of crosstalk between the molecular and the experiential. The notion and act of measurement lies at the core of this work, and provides a context in which everything from simple games and punk music to chemical experimentation can coexist.

Brooks Dierdorff is an interdisciplinary artist working in photography, video, sculpture and performance. He has exhibited his work both nationally and internationally at galleries that include Salander O’Rielly in New York; Punch Gallery in Seattle; the Disjecta Interdisciplinary Art Center in Portland; High Desert Test Sites in Joshua Tree, California; Johalla Projects in Chicago; and the Ulrike Hamm Gallery in Bissendorf, Germany. His work has been written about in publications including Daily Serving, Visual Arts Source, Oregon Arts Watch, and Justice League PDX. For 3 years Dierdorff was co-director of Ditch Projects, an artist-run exhibition space in Springfield, Oregon. He received his BA from the University of California, San Diego in 2007 and his MFA from the University of Oregon in 2012. Currently Dierdorff is a Visiting Assistant Professor at Southern Oregon University in Ashland, Oregon.

Occupy Thirdspace


Curator Sara Solaimani has worked with the artists and Space 4 Art to design a showcase of contemporary artworks that question the transborder condition and the effect of the border on the lives of individuals. Occupy Thirdspace is an effort to feed into an ongoing collaborative channel and double-learning between the UCSD Visual Arts Department and important artists in and from North Baja California to enrich the contemporary art history of the borderlands.

These artists’ work address the questions: To what degree, socially, is Tijuana-San Diego a region? What can art do to respond to the antagonism that haunts both sides of the border? The exhibition and closing panel’s objective is to contribute to the field that views the transborder as both an experience of traversal and as a state of being constantly conditioned by the daily terror of militarized transborder spaces.

Occupy Thirdspace is an exhibition featuring surrealist painting, a delicate ironwood installation, an industrial-scale anti-monument, a hand-processd 16 mm silent film, a neo-baroque12-foot altar, a transparent barrier invisibly emitting narrative sound, a live radio broadcast, and the exchange of Paleolithic geological fragments which inspired a graphic novel.

Featured Artists: Alida Cervantes, Cog•nate Collective, Emily Sevier, Jamex and Einar de la Torre, Julio Orozco, Kate Clark & Marcos Ramírez Erre

Through a glass, darkly


Space 4 Art presents the work of Shana Demassi, Ana Teresa Fernandez, and Erika Ostrander. Using materials as disparate as tar, hair and glass, the presented works deal with sense and immediacy through performance, sculpture and projection. These common substances morph beyond their familiar forms and ask the viewer to reconsider notions of reflection and transience. The exhibit includes a performance by Ostrander during the August 16th reception.


Shana Demassi was born in San Diego, California, and has lived and worked in Italy, San Francisco and Los Angeles, where she obtained her BFA from the Art Center College of Design in Los Angeles. She is currently completing her MFA at UCSD.

Ana Teresa Fernandez was born in Tampico, Mexico and lives and works in San Francisco, California. She recieved a BFA and MFA from the San Francisco Art Institute. Her work has been exhibited at the Tijuana Biennial in Mexico, Yerba Buena Center for the Arts in San Francisco, and the Oakland Art Museum, among others.

Erika Ostrander was born and raised in Los Angeles, California.  She received her BA and MA from California State University Northridge and is currently completing her MFA at UCSD.  Erika has exhibited her work in Los Angeles, New York, Santa Ana and San Diego.

Composing Dwarfism: Reframing Short Stature in Contemporary Photography

JUNE 27-JULY 19, 2014

Curated by Amanda Cachia

This exhibition explores the work of two contemporary dwarf photographers, Ricardo Gil and Laura Swanson, who use different conceptual and technical methods in order to re-frame the composition of the dwarf subject. The dwarf has often been a marginalized subject in the history of contemporary art and photography, labeled as deviant, pathological, freak and “other,” so this exhibition presents the strategies that Gil and Swanson employ in order to resist reductive meanings, and offer alternative interpretations of the dwarf.

In their strategies of re-directing the gaze of the viewer, privileging the dwarf subject, and more generally re-framing depictions of the short statured embodiment, I suggest that these artists significantly depart from the stigmatized status surrounding the dwarf’s representations in the work of many non-dwarf photographers. Instead, the viewer will be made more aware of the psychology of the dwarf, as a means to encourage the compassionate involvement of the viewer, as opposed to attracting a historically prevalent morbid and reductive curiosity. If we examine the power and agency held by Gil and Swanson in the photography showcased in this exhibition, viewers may come upon different perceptions of dwarfism that have received scant attention in art history and criticism. We also learn to see the dwarf from both behind and in front of the camera, with full knowledge that they are the ones in control of both sides of its lens.

Performing Crip Time: Bodies in Deliberate Motion

JUNE 27-JULY 19, 2014

Curated by Amanda Cachia

This exhibition includes the work of 7 female contemporary artists, who perform their complex embodiment through their vantage point of crip time. How might a disability perspective bring new understandings of temporality through mobility across various public spaces? Inspired by Alison Kafer’s new book, Feminist, Queer, Crip (2013), how might crip time become a powerful resistant orientation for the disabled subject, that yields productive insights into alternative constructs about the cultural rationality of time? Through the performance-based work of artists Liz Crow, Arseli Dokumaci, Helen Dowling, Heidi Kayser, Noëmi Lakmaier, Laurence Parent and Sunaura Taylor, we come to understand crip time as not only a slower speed of movement, but also a re-orientation to time and bodies that might offer a new methodology for thinking about alternative futures for the disabled subject. In other words, how can crip time become a way of life and how can slow motion become a deliberate, politicized act? The exhibition includes videos, drawing, sculpture and mixed media installations that present the comingling of crip time, intersectional identity, the senses, language, interpretation and access.

At the End of the Day: an exhibition of new work by Andrew Printer

FEBRUARY 15-MARCH 15, 2014

At the End of the Day consists of two new bodies of work. Like much of Printer’s photography the images being presented in this exhibition sit at the intersection of domestic life and queer lifestyle, camp and documentary, the tragic and the comic.

Sleepers is a set of photographs that places numerous men onto the proverbial conjugal bed while stripping them of any trace of sexuality. Meanwhile, the conventional portraits involved in the At the End of the Day are disrupted by an uncertain, often messy photogram effect that smudges identity, as it celebrates aberration.


Andrew Printer is an interdisciplinary artist. His work involves video, performance, installation, text and social practice but, primarily, photography.  Much of his work is tied to the experience and the representation of a particular generation of gay men: pre AIDS, post AIDS, middle-age and assimilation.

Rhythm, Repetition & Pattern

JANUARY 2-25, 2014

This group exhibition revisits the reductive aspects of modernist abstraction and explores its impact on in a contemporary context. The ten participating artists critically digest the visual tools repetition, rhythm, and pattern.

Their inquiries info the lineage and fundamentals of abstraction are often infused with personal and subjective anecdotes.  Through rigorous formal investigation, these artists iterate broadly; from wrought family history to slap dash humor.  The interjection of this material often repudiates the precedent tones of modernist minimalism. The exhibiting artists approach this work through a variety of media ranging from installation and paintings to glass and ceramic. The visual simplicity echoes against a sincere and pointed investigation of materials, aesthetics, history, and context.

Road Movie


Space 4 Art presents artist Allison Wiese’s “Road Movie.” The exhibit, based in sculpture and video, documents the entire final leg of a passage across the continental United States. Banal and sublime vistas are accompanied by raw and found material toying with American myth. Wiese’s work has been exhibited throughout the U.S. at Machine Project in Los Angeles, the Museum of Contemporary Art, San Diego and Socrates Sculpture Park in New York, among other venues. Wiese lives and works in San Diego.

Fast Thoughts for Short Attention Spans

AUGUST 31 – SEPTEMBER 21, 2013

Fast Thoughts for Short Attention Spans features the work of three Southern California artists: Joshua Callaghan, John Kilduff and J. Noland.

Drywall sculptures and performance art figure into the exhibition’s opening reception which features the performance art from two of the exhibiting artists, the experimental opera of Glottalopticon and SPACE 4 ART artist open studios.

Fast Thoughts for Short Attention Spans curator Joshua Miller, Co-Director of San Diego’s art review website Dodo Editions, offered some unusual insight into the exhibition recently stating, “Brevity is the soul of whit. That’s Shakespeare, yo. These three guys put on a spectacular display of sadness, guilty pleasures, fast food, sex chats, painting and hard work.”


Incomplete Survey

JUNE 8 – 29, 2013

Incomplete Survey, an exhibition of works by students of local colleges and universities including San Diego State University, University of San Diego, University of California San Diego, Autonomous University of Baja California, and Point Loma Nazarene University.

The exhibition featured a variety of media from painting to video to installation, and a repurposed mobile art gallery truck (also a student work) mixing “high” and “low” ideas of art. Not a topical exhibit, but a starting point for connections between diverse works, the show reflects the choice and variety of ideas artists respond to in a contemporary context. However, several themes surface. The mark of the hand is highlighted, whether through a worn, repeatedly used object or controlled detail of a delicate sculpture. Similarly, tactility comes to the fore, asking the audience to touch an immense bubbling cork wall, or a rack of embroidered shirts. The idea of labor is evident, again with the soft but painstaking work of needlework, also contrasting with images and objects of agriculture. The playful use of sexuality in several works makes pleasure in the work more complex. Incomplete Survey brings young artists together from too often disconnected institutions in the area to find, from their heterogeneity, a starting point from which to imagine future of art in our region.

Featured Artists:

University of San Diego (USD) - Virginia da Rosa, Rafal Kopacz, Noé Olivas

San Diego State University (SDSU) - Takuya Nemoto, Cristal Chen, Jazmin Manriquez

University of California San Diego (UCSD) - Frankie Martin and Berglind Tómasdóttir, Alida Cervantes, Matt Savitsky

Point Loma Nazarene University (PLNU) - Lauren Richards, Emily Poole, Stuart Ballew, Jeff Allen

Autonomous University of Baja California (UABC)- Colectivo Des Madchen

Curators: Allison Wiese- Professor USD, Eva Struble- Professor SDSU, Lael Corbin- Professor PLNU, Griselda Rosas- Professor UABC/ MFA Candidate at SDSU, Chris Warr- SPACE 4 ART Gallery Director, Vabianna Santos- Artist/ UCSD Alumni

The Unknown

APRIL 27 – MAY 25, 2013

In an international group exhibition, Space 4 Art presented contemporary artwork that addressed themes concerning the unknown, the occult, and the metaphysical. The artists selected were representative of visual art’s ability to speak about and create experiences of the extraordinary for the viewer, of realms of unknowing, the ritualistic, and conjuration.

By reimagining the unknown, the artists in this exhibition strive to make the invisible concrete in their various modes of production: through video, sculpture, collage, and texts. But the materials and imagery used surpass their everyday lives and are forced to behave in unexpected ways. A forest becomes a site of unresolved terror, collages become maps for rituals, plaster figurines harbor “haunted dirt,” hidden light creates shifts in perception, video montage and cloud computing become a vessel for paranormal disruption, and finally, “erratic events” are “fixed” in place in the form of translucent sculptural waves.

Exhibiting Artists:

Carl Diehl (Portland, OR)
Kristen Gallerneaux (Detroit, MI / San Diego, CA)
Adam Nelson (Baltimore, MD)
Christopher Richmond (Los Angeles, CA)
Vabianna Santos (San Diego, CA)
Kandis Williams (Berlin, Germany)
The exhibition is curated by Vabianna Santos and Kristen Gallerneaux.

Open House

FEBRUARY 2 – MARCH 9, 2013

Exhibiting artists: Jamilah Abdul-Sabur, Ingrid Hernandez, and Melissa Inez Walker

In this exhibition, Space 4 Art brought together several artists that explore space through active and imagined action in photography and large scale installation.  Open House was an exhibition that allows viewers a chance to delve further into their relationship with the spaces presented and the environments the artworks help construct.  The artists featured use constructed places, as other artists might use a particular pigment, to explore the nuance of existence.  Space and those within are deeply intertwined; one’s physical body is an integral component of one’s surroundings.  Even in dreams, when a person is immersed in a place between creation and memory, one can feel a brick wall solidly, regardless of how similar the brick’s ephemerality is to any other whim or remembrance.  Because, between dream and reality there’s no difference in the way that information is processed.  The space of experience afforded us by our memories and fantasies are real places worth exploring.  The artists, Jamilah Abdul-Sabur, Ingrid Hernandez, and Melissa Inez Walker, utilize the idea of space to convey diverging theories on how people exist within their environment and how space itself negotiates its own representation.

Jamais Vu



These artists operate between two worlds. The first is that of sensual beauty–the voluptuous curved forms that exist within Michael Arata’s and Michele Carla Handel’s works we recognize as playful and pleasant. Ernest Silva’s work has its own romantic charm: the perceived innocence of the past. However, immediately after seeing the works, if not simultaneously, we are confronted with something inward, uncomfortable, and perhaps disturbing. Familiar forms are skewed just enough to become perverse. In Arata’s sculptures, cartoonish forms call attention to invisible spaces and belie sinister distortions. Carla Handel’s works are uncomfortable states of mind made real, with our insecurities anthropomorphized in abstract, primal sculptures. Ernest Silva’s paintings emphasize the use of images to trigger speculation based on personal experience. The common denominators are the handmade, the emotive, and the sense that they may have been imagined, based on observation, drawn from art history, or recalled from memory.

The moment of indecision in describing or identifying the forms in Jamais Vu is a moment of searching among myriad subconscious associations, then sorting and naming them. We are all too familiar with the bittersweet, but it never ceases to awe the senses. We know how dichotomy works, but we are never prepared to deal with it.

Featured Artists: Michael ArataMichelle Carla Handel, and Ernest Silva 

The New Listeners


On September 8, 2012, Space 4 Art will host the opening reception for an unprecedented exhibit for its gallery to coincide with Art San Diego Contemporary Art Fair. This daring and intellectually stimulating show titled The New Listeners will feature the work of notable interdisciplinary artists, Jesse Sugarmann and Jack Ryan. Sugarmann’s bold works focus on mechanical interpretations of the human body whereas Ryan’s innovative projects deal with mechanized representations of the human brain. Combined, these two systems of work create an abstract and absurd (yet somewhat thorough) physical reinterpretation of human form and function, and offer a vital reading of a mechanically quantified humanity. The opening reception will feature 37 open artist studios, refreshments, and an onstage performance by Author & Punisher, an industrial doom and drone metal, one man band utilizing primarily custom fabricated machines/controllers and speakers.



Jesse Sugarmann engages the automobile as a totem of humanity, employing the landscapes of automotive design and car culture as conduits to social understanding. According to him, “Automobiles exemplify a fantastical and idealized sense of humanity, one prone to whimsy yet tethered to practicality. They embody the best and worst of human ingenuity and desire, offering a timeline display of both human absurdity and sincerity.” For The New Listeners, Sugarmann will be showing two videos from his 2011 series titled Silver Anniversary – a series of active monuments commemorating the Space Shuttle Challenger and re-enacting its disaster. In addition to these videos, the artist will be exhibiting a sculptural installation titled Wake Up Sleeping Giant in which he elevates automobiles into the reflective ridge of the desert horizon using an illusion of mirrors.

Working with drawing, sculpture, multi-media design and electronics, Jack Ryan’s work triangulates between personal history, the immersive qualities of sound, and cultural conditions of perception and understanding. While the visual world dominates experience, sound provides him with opportunities to explore a deeply physical awareness of space and environment. His most recent projects explore sound and visual form’s interrelationship and the possibility of the visual and acoustic as one singular aesthetic form. The works Ryan will exhibit for the New Listeners use strategies of bi-lateral stimulation and EMDR (Eye Movement Desensitization and Reprocessing) a therapeutic process used on trauma victims, often soldiers, to create an environment linking brain hemispheres for purposes of addressing trauma. Ryan uses principles of EMDR to shape installations that can influence neurological states from sound and light patterns.


Do Anything

JULY 13 TO AUGUST 12, 2012

The show features work by individual artists and collectives who focus on do-it-yourself publishing and print projects. Employing alternative methods of production and distribution to create books, zines, and video work, the exhibiting artists work with a variety of themes to actively engage a wide audience. Opening during Comic-Con, this exhibition focuses on artistic practices that push the boundaries of contemporary publishing. The opening reception will feature a screening of Strange Attractors:  Investigations in Non-Humanoid Extraterrestrial Sexualities on Space 4 Art’s outdoor stage.

Artists and collectives exhibiting at Space 4 Art (located at 325 15th Street in San Diego’s East Village) include: Bettie Breitweiser, The Institute of Extraterrestrial Sexuality and Encyclopedia Destructica, Juliacks, Justseeds, Darin Klein, Ed Luce, Ed Piskor, Louis M. Schmidt, Tom Scioli, Mary Tremonte, and Unicorn Mountain. As a satellite to the exhibition, Double Break Gallery (located at 1821 5th Avenue in Bankers Hill) will be showing new zines by: Josh Atlas, Jessica Greenfield, Ben Hernstrom, Jennifer Murray, and Jessica Vaughn.

A panel discussion on July 15 from 7 to 9 PM at Space 4 Art will feature comic-artists Ed Piskor (creator of the graphic novel, Wizzywig and the web-comic Brain Rot), Ed Luce (creator of the comic books Wuvable Oaf and Henry & Glenn Forever & Ever). Also at Space 4 Art, a zine discussion on August 4 from 2 to 4 PM will feature artists Darin Klein and Louis M. Schmidt in a discussion of creating and collecting zines.

About the Curator:

Christopher Kardambikis is an artist exploring an absurd mythology for the future through drawings, paintings, and hand-made books.  He has co-founded two artist book projects: the Pittsburgh-based Encyclopedia Destructica and the San Diego-based Gravity and Trajectory. He has been an artist in residence at the Vermont Studio Center, the Virginia Center for the Creative Arts, the Millay Colony, and the Pittsburgh Center of the Arts. Kardambikis received his MFA at the University of California, San Diego and his BFA from Carnegie Mellon University.

My Place Like Home

JUNE 16 – 30, 2012

Featuring artists culled from an open call to all Southern California MFA programs, My Place Like Home investigates explorations of interpersonal relationships, particularly of the family – blood relations and the families we create – as well as the relationship to and perception of one’s own body. It is through these explorations that the artists reveal the process of finding one’s sense of place, both in the family as well as in the broader social and perceptual world. The opening reception will feature an outdoor “living room” with vintage home movies from the exhibiting artists and Space 4 Art tenants playing on the big screen.


Featuring artists culled from an open call to all Southern California MFA programs, My Place Like Home investigates explorations of interpersonal relationships, particularly of the family – blood relations and the families we create – as well as the relationship to and perception of one’s own body. It is through these explorations that the artists reveal the process of finding one’s sense of place, both in the family as well as in the broader social and perceptual world. The opening reception will feature an outdoor “living room” with vintage home movies from the exhibiting artists and Space 4 Art tenants playing on the big screen.

Featured Artists:  Veronique d’Entremont, Janna Ireland,  Jae Hee Lee, Vabianna Santos, Tiffany Ma, and Jessica Sledge 

About the Curator: Sascha Crasnow is a San Diego-based curator, art historian and writer. She received her MA with a concentration in contemporary art from Hunter College in 2009 and is currently pursuing her PhD with a focus on contemporary Middle Eastern art and politics at the University of California,San Diego.


Immaterial Ergonomics

APRIL 14 – MAY 26, 2012

Immaterial Ergonomics brings together four artists from both coasts who share an affinity for material transcendence. Their innovative, contemporary work represents a range of hybrid practices: sculpted canvases, painted videos, printed sculptures and digital processes, which turn traditional mediums on their head. The four artists share a goal: to head toward representational objects, only to sidestep the familiar at the last moment. And drift past.


The work of Brice Bischoff, Ryan Perez, Matt Sheridan, and Maria Walker will be celebrated with an incredible reception that includes high-caliber music performance art by UC San Diego art teacher Michael Trigilio, and a one-night-only installation by San Diego artist Anna Chiaretta Lavatelli.


Hydrodynamica: Remember the Future

JANUARY 28 – MARCH 9, 2012

Space 4 Art and Loft 9 Gallery present a Pacific Standard Time exhibition exploring early surfboard design and how the use of surfboard materials influenced mid-century sculptors and designers.

The show was conceived and curated by Richard Kenvin, of Loft 9 Gallery. Kenvin is the director of the Hydrodynamica Project and has surfed in San Diego for over forty years. The exhibition focuses primarily on the work of two Southern California surfboard pioneers: Bob Simmons and Carl Ekstrom.

Simmons’ board design and early use of composite construction processes in board building from 1949 to 1954 parallels California’s post-war modern design movement and profoundly influenced modern surfing and skateboarding. Andy Warhol considered Ekstrom’s surfboards works of art and purchased two in 1968 for props in the campy surfsploitation flick “San Diego Surf.” The boards helped inspire an explosion of revolutionary surfboard design in San Diego that culminated with the designs of Steve Lis in the late 1960’s.

The exhibition will feature original Simmons planing hulls and other objects he made, including the boomerangs he used for experimentation. Boards from Ekstrom, Lis, and Nicholas Mirandon will also be exhibited, along with photographs and short film clips. Viewers will be invited to ponder the relationship of these designs to California art and design from 1945 to 1980.  Once overlooked, surfboard design is currently experiencing a worldwide renaissance that is changing surfers’ perspectives on the past and changing the way people ride waves today.

Pacific Standard Time is an unprecedented series of concurrent exhibitions throughout Southern California museums and galleries that highlight the significance of art in Los Angeles region in the post World War II decades. Exhibitions and related programs began in the fall of 2011 and conclude in spring 2012.

If the Ocean Was Whiskey


San Diego artist Brianna Rigg transforms the Space 4 Art galleries into an installation that examines the emotional content of historical artifacts.

About the show: Brianna Rigg’s installation, “If the Ocean was Whiskey,” is an immersive environment composed of artifacts that are reminiscent of the Old West, maritime culture, elementary school classrooms, and Southern Californian architecture. These artifacts, both collected and made by the artist, are arranged to create a mashup of vernaculars used to express Rigg’s imagined understandings of the historical narratives to which these artifacts refer. Driven by a desire to unveil the emotional aura surrounding the object, Rigg seeks to close the gap between the object and that which it represents by creating a contemporary mythology in the form of a blasted narrative that allows the viewer to dwell in the realm of fantasy. Objects are not on display in “If the Ocean was Whiskey.” Instead, objects inhabit the space. The environment mimics the objects within it, so that echoes of each form reverberate throughout the space to create a harmonious order that allows for the merging of the installation’s various themes.

Marie Thibeault / Emanations: Paintings and Works on Paper


Los Angeles artist Marie Thibeault will make her San Diego debut Sept. 3 2011 at Space 4 Art with  “Emanations, Paintings and Works on Paper.”  Thibeault’s work shows complex and multi-layered abstractions of dramatic urban dissolution, such as the devastation of Hurricane Katrina. Her approach is rich and painterly; the images become jumping-off points for improvisation. The large oil canvases shimmer with color and simultaneously jar with staccato gestural strokes. The meaning of the physical destruction is never out of sight, and with it a metaphysical angst and destabilization. Within the paintings’ layers, patterns of continuity emerge and retreat: the viewer is ultimately surprised to find balance and a new kind of beauty.

In 2008, Constance Mallinson wrote in Art in America: “The sumptuous interplay between abstraction, representation and text in the works implies that no single language is adequate to fully convey the complex experience of natural or even human? made disasters. Engaging a spectacular artistic tradition, however, Thibeault asks that all the possibilities be kept open.”

Thibeault is a professor of art at California State University at Long Beach. She lives and works in Los Angeles. 


September 3, 2011

Space 4 Art hosts a unique outdoor exhibition entitled 8’x 8’ in which eight artists and curators produce contemporary installations for a series of eight, 8-foot wooden cubes constructed especially for the event. To feature: Armando de la Torre, Avantika Bawa, Damien Gilley, Jason Sherry, K & K Collective with Brian Dick and Wendell Kling, Lael Corbin, and Samara Kaplan. 

Drawing Expanse

JUNE 11 – JULY 17, 2011

Space 4 Art’s first open call for submissions was a survey of drawing. The show was an overview of the expansive potential of drawing in the contemporary art practice. Drawing continues to evolve as a medium, encompassing flat work, sculpture, performance, photography and video. From the most traditional, to the most experimental, all forms of drawing share the common language of mark making, gesture, notation, and line. Drawing Expanse illuminated the myriad ways in which drawing continues to influence and affect us.

Artists: Albert Atrillo, Alexander Jackson, Barbara Simco, Chelsea Ramirez, Claire Zitzow, Emily Booth, Hollis Swan, Jon Gomez, K.V. Tomney, Kirsten Rae Simonsen, Lea Anderson, Louis Schmidt, May-ling Martinez, Melinda Barnadas, Michele Guieu, Nicole Aponte, Richard Keely and Anna O’Cain, Richard Allen Morris, Sandra Doore, Tim Conaway, Tom Driscoll

Adrift, a Raft

APRIL 1 -  30, 2011

It’s transparent. It’s opaque. It’s a veneer. It’s all veneer. It’s a curtain pulled back. It’s a window. It’s refuse. It’s a refusal. It’s making the simple complicated; it’s making the complicated simple. It’s continuity. It’s dissent. It’s heart smart. It’s book art. It’s static. It’s visceral. It’s revealing. It’s concealing. It’s a language. It’s us. It’s the anti-community. It’s forced community. It’s communal. It’s play. It’s a joke. It’s us.

Adrift, a Raft, a group show curated for Space 4 Art by UCSD Art History PhD student Rujeko Hockley, brings together the work of eight MFA candidates in UCSD’s Visual Arts Department. Conceived as a complement to MFA Open Studios at UCSD (April 2, 2011), this exhibition has emerged out of an urgent need to speak across the divide, whether that be MFA vs. PhD, UCSD vs. San Diego, or the Visual Arts Department vs. the greater San Diego arts community. It is too convenient to believe that these divisions are real, and absolute; it is inaccurate to conclude that we have no shared goals, that there are no places where we blur and overlap. However, it takes effort to forge community out of disparity and difference, to meld your concerns with those of your neighbor. This applies as equally to the connections made among students thrown randomly together by a single common interest, i.e. the pursuit of a degree in a particular program, as it does to the connections that do or do not, may or may yet, exist between us and the larger world. There is nothing to link these eight artists; there is everything to link these eight artists. They have nothing in common; they have everything in common. Adrift, a Raft finds them together, each developing an idiosyncratic vision of their relationship to one another and to their community. They form a society unseen, hidden in plain sight. Though here, standing next to one another, speaking a silent, shared language, perhaps they are revealed.

Jamlah Abdul-Sabur
Sadie Barnette
Mike Calway-Fagen
Rob Duarte
Adrienne Garbini
Christopher Kardambkis
Hyeyeon Kim
Stephanie Lie

The Fifth Season

FEBRUARY  24 – MARCH 26, 2011

Gallery director for La Jolla’s Quint Contemporary Art, Ben Strauss-Malcolm, curated a show of five Space 4 Art artists.  Strauss-Malcolm selected the artists and is guiding them in an exciting and innovative artistic dialog. This is the first time Space 4 Art has featured a small selection of its own artists in its galleries. 

Featured Artists: Mike Calway-Fagen, May-ling Martinez, Joshua Jon Miller, Morgan Manduley, and Claire Zitzow

Judit Hersko and Lea Dennis

DECEMBER 4, 2010 – FEBRUARY 12, 2011

Judit Hersko: “Pages from the Book of the Unknown Explorer” examines the history of Antarctic exploration and science based on the artist’s research and experiences in the region. In the piece, which includes suspended, translucent objects, projections, and cast silicone book pages, Hersko inserts a fictitious woman explorer into real historical events. The unknown explorer’s obsession with a microscopic planktonic snail that resides in Antarctic waters connects this work to the artist’s collaboration with scientists studying ocean acidification and climate change. Hersko has an MFA from School of the Art Institute of Chicago. She is an Associate Professor at California State University, San Marcos and lives in San Diego.

Lea Dennis: ”Tremendous Effort” is a body of sculpture and photography that results from Dennis’s own range of idealism and doubt in the face of both personal and political realities she would like to change, and the application of passionate energy to futile outcomes. In this work, handmade boxing gloves symbolizing strength and aggression are undermined by the delicate nature of the material used to make them: paper. A series of photographs capture the frailty and beauty of the carefully made objects. Finally, a hand-fabricated, full-size fighting ring will be suspended from the ceiling. Lea received a BA from San Diego State University in Fine Arts. She currently works and resides in San Diego, California.

Soap & Feathers


Our fall gallery show featured the grotesque, pretty paintings of Walter Wojtyla, a towering sculpture of whittled tree branches, and stretched intimate attire by John Dillemuth, and the elegant, primordial work of emerging Tijuana artist, Griselda Rosas.