space 4 art
san diego, ca
Past Exhibitions


November 8-26

Opening Reception: 7-10PM, November 8

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.”

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Occupy Thirdspace

September 27-October 25

Opening Reception: 7-10PM, September 27

Closing Reception: 7-10PM, October 25

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.



Through a glass, darkly

August 16-September 6

Opening Reception: 7-10PM, August 16

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.

PRG14_IMG_Ostrander, Erika


Composing Dwarfism: Reframing Short Stature in Contemporary Photography

June 27-July 19

Opening Reception: 7-10PM, June 27

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 the last two decades, Ricardo Gil developed a series of photographs where the distinct feature is how they portray they dwarfed viewpoint, for we see the world through the lens of Gil who stands at 3’9” feet tall. The outcome of this means that the subjects of his frames were shaped by his perspective – we will often only see the legs of average-height people (the remainder of their bodies chopped off at the top of the frame), or conversely, we discern Gil’s physical distance upon looking down at a dog or looking up at a girl on the monkey bars. Gil also includes a series of self portraits that range from close facial compositions to full body views of his dwarf frame, where he is juxtaposed against various objects to demonstrate a noticeable size difference, such as Gil’s corpus in contrast to a large boat, or how he lines up (or rather doesn’t line up or fit) with the height of the urinal installed at “average” height on the wall of a male public restroom.

In Laura Swanson’s series entitled Anti-Self-Portraits (2005-2008), in addition to other photos in her oeuvre, the artist has obscured or covered over her face, drawing attention to the fact that she is denying something from her viewers. Through this act of concealing, Swanson is actually revealing her vulnerabilities, fears and frustrations over being judged and stared at, simply because of her atypical embodiment. In Revelation (2009), the artist stands beside her partner, Greg, in a diptych that splits their bodies in half at the torso. Where the left side of the portrait remains ambiguous in any height difference, as their bodies side by side look ostensibly symmetrical, the right side reveals how this symmetry was actually achieved. Swanson thus endeavors to play tricks on our eyes and challenge normative assumptions around symmetry. Finally, the artist also includes a series of selfies displayed on an iPad slideshow. The images were taken quickly as a means to record and capture Swanson’s engagement with objects, architectures and spaces in her everyday environment.

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

Opening Reception: 7-10PM, June 27

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.


In 2013, British artist-activist Liz Crow staged a live 48-hour performance/protest called Bedding Out where she acted out her “bed life” with the public. How is time in bed spent differently by a disabled person? How can stillness be a form of activism for disability? Through this durational activity, and by sharing what is ordinarily a private aspect of her life as a woman in a wheelchair, Crow was hoping to make the public more aware of the invisible aspects of being a disabled person. For Crow, “bedding out” was a way of “speaking out.” Throughout the 48-hour period, Crow staged five scheduled “bedside conversations” in order to talk about the change in benefits for disabled people in the UK that occurred the same week as her performance.


In Arseli Dokumacı’s PhD project entitled “Misfires that matter: Invisible disabilities and performances of the everyday,” she investigates everyday practices in relation to mobility-related pain and impairments and created a two-hour ethnographic documentary on the everyday lives of people living with rheumatoid arthritis (RA). An abbreviated version of this documentary, entitled “Taskscapes” (Tim Ingold, 2000) is included in this exhibition. Mundane tasks, which are almost automatically performed when in good health, require effort and planning when pain accompanies movement. Therefore people with RA tend to create new techniques of executing quotidian tasks. These improvisations, which remain invisible in the flow of daily life, are rendered visible in these videos as emerging “taskscapes.”


In the video, Breaker, the man with the disability is Dowling’s older brother, John. He has cerebral palsy. The other man is a local breakdancer.  The artist asked them to attempt to copy each other’s physicality through a series of movements or exercises. Essentially, John copied the breakdancing and the breakdancer copied the disability, or copied the “crip time.” The artist wanted the resulting footage to blur the lines of what should and can be copied, learnt and taught. Mimicking another person also carries references to both flattery and cruel behavior, which John has had to endure all too frequently. Dowling wanted to turn the act of copying someone who is disabled into an act that is challenging and something that within this video is admired instead of evoking scorn or, sometimes even more harmful, pity.


Slippage is the extension of an original collaboration between Heidi Kayser and Yelena Gluzman. This short video explores the relationship the stenograph has with the stenographer’s body, as a tool for access, communication and translation. It is a compilation of the original footage of Heidi’s filming of an anonymous stenographer during an interview, in addition to two different YouTube clips Yelena had sourced. Heidi’s creative editing of the three image sources meant that the final outcome of the video was a very rapid succession of inter-changing images, as if the screen was a collage. What is to be gained from the slippages, gaps and distractions in one mode of communication to another in this important mode of crip time? This work is accompanied by documentation that reveals audio description as a complex process, including the script and instructions.

ABOUT Noëmi LAKMAIER        

In the documentation of the living intervention/performance, One Morning in May (2012) by Hydar Dewachi, on the 28th of May 2012, Noëmi Lakmaier set out from Toynbee Studios in Tower Hamlets towards the City of London, hoping to reach one one of London’s most iconic buildings the ‘Gherkin’. This normally easy 1 mile stroll was a slow and exhausting test of endurance, as she did it on her hands and knees. Smartly dressed in business attire she crawled through the everyday street life of London, her clothes getting increasingly dirty and torn. After 7 hours she crossed the border from the Borough of Tower Hamlets to the City of London.


In Canadian artist Laurence Parent’s video, entitled Cripping the Landscape 1: Québec City, (May 23, 2013), the artist has used a “herocam” to chart her thirty-five minute journey on foot from the University of Laval to the train station in Québec City, which was a distance of five kilometers, told from the temporal point of view of her wheelchair. In this intimate narrative, Parent exposes the dangers, barriers and inaccessible points encountered throughout her journey, but also attempts to provide a unique temporal and phenomenological view of urban space through the lens of wheelchair embodiment.


For this exhibition, Taylor has contributed typing sticks that she uses for painting with her mouth. She goes through these sticks that she makes from wood and plastic every 1-2 months, before they get chewed and destroyed. They are physical debris left over from writing her thoughts down and also act as symbols of Taylor’s personal crip time. The artist has developed a series of watercolor self-portraits, where her corpus has been replaced with versions of her personal wheelchairs that she has owned since she was six years old. She has had 7 main chairs and 3 or 4 alternates. Taylor’s portraiture of wheelchairs not only documents crip time through the physicality of an object as an extension of her embodiment and identity as a disabled person, but these artworks also offer crip time through a historical and nostalgic lens.

Dokumaci image for postcard copy


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

February 15-March 15, 2014

Opening Reception: 7-10PM, February 15

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.


Mario Marchiaro is a dancer, choreographer, and artistic director with a long career in Europe and his native Italy. Locally, his alter-ego Chandalier can be seen performing at his home stage in La Mesa and at Martini’s Above Fourth.  Marchiaro has arranged a set of performances specially curated for the central themes of At the End of the Day.



Rhythm, Repetition & Pattern

January 2-25, 2014

Opening Reception: 7-10PM, January 4

This exciting 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

November 16 – December 14, 2013

Opening Reception: 7-10PM, November 16

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.


Adjacent Possible II

September 28 – October 26, 2013

  • 10/5/13: Space 4 Art Preview Fund Raiser
  • 10/12/13: Public Performances 6 – 10 pm
  • 10/13/13: Public Performances  1 – 4 pm 

Monthly exhibition with Andrew Hunter and Stephanie Lie


Interactive Environments

Andrew Hunter                             
Rebecca Goodman                        
Christopher Commons

A month long exhibition of interactive environments that are created by performers and viewers (Computer Arts, Dance & Technology)
Mechanical Grace

Lisa Caraway                                  
Laura White
Bedrieh Caraway

A biomedical exploration of the kinesiology, anatomy and form in movement through circus arts and illustration (Mobile Computer Arts, Aerial Arts, Physics & Biomedicine)

Signaling Pathways

Kerry Greenwood                        
Traci Ostertag
Teresa Patchett                             
An exploration of the behavior and interaction between cells and viruses illustrated through dance and visual arts (Visual Arts, Dance & Biology)

Enkidu’s Habitat (Epic of Gilgamesh)
Elmira Mohebali,
Yasamin Nouriboushehri
Gerard Joseph
Jamilah Sabur
A theatrical dance exploring the relationships between man and woman as described in the world’s oldest literary text from Ancient Mesopotamia (Computer Arts, Theater, Dance & Sociology)


Asha Sheshadri

Zoological systems are explored from a human and nature perspective (Zoology, Sociology and Performance).
Adjacent Possible

Still curious? Check out these videos from Adjacent Possible 2010.



Fast Thoughts for Short Attention Spans

August 31 – September 21, 2013

SPACE 4 ART presented ‘Fast Thoughts for Short Attention Spans’ in the fall of 2013 featuring the works from three Southern California artists: Joshua Callaghan, John Kilduff and J. Noland.

The exhibition runs from August 31-September 21 at SPACE 4 ART (325 15th Street between J & K Street) during gallery hours from Wednesday through Saturday, 11am – 4pm.

Drywall sculptures and performance art will figure into the exhibition’s opening reception on August 31 from 7-10, which featured 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.”

For more details on SPACE 4 ART or Fast Thoughts for Short Attention Spans, visit

Artist’s websites:

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Tenant Series Exhibition #4

August 14 – 17, 2013

Series of one-week exhibitions by the SPACE 4 ART tenants.




Tenant Series Exhibition #3

August 7 – 10, 2013

Series of one-week exhibitions by the SPACE 4 ART tenants.


Tenant Series Exhibition #2

July 31 – August 3, 2013





Tenant Series Exhibition #1

July 24 – 27, 2013





Incomplete Survey

June 8 – 29, 2013

SPACE 4 ART presented 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, from June 8 to June 29, 2013.

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.

Incomplete Survey

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

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

Opening Reception with Space 4 Art Open Studios: 7-10 pm, Saturday, April 27, 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 3 – 03/09/13

Opening Reception w/ Space 4 Art Open Studios: 6 – 10 pm Saturday, February 2nd, 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.

About the Artists:

Jamilah Abdul-Sabur constructs spaces that are not quite rooms; though it may have a wall and a roof it is more a dream of a place, that’s both familiar and foreign to many.  While describing her work Jamilah has said “The house, the fish, and the salt are the three things that have remained with me since my first visit out to the Mojave Desert/Salton Sea region. I was walking, and walking on dead fish. So you walk on this substance, this thing that has intact anatomy. It becomes the floor, the ground in the space.”  A local emerging artist and recent graduate of UCSD, her work explores the transmutable nature of how space exists.  Abdul-Sabur will construct a large scale installation specific to Space 4 Art’s gallery for the Open House exhibition.

Ingrid Hernandez explores the use of space, construction materials, and the definition of living space through direct photography.  Her work aims to subvert the stereotypical piteous exoticism of current documentary photography concerning poverty by focusing on the domestic space of her subjects.  In this more intimate space the psychological geography of the inhabitants takes precedent over any fetishization.

Melissa Inez Walker investigates the role and representation of women–the women in her photographs inhabit a persona found in the domestic interior.  Utilizing the concept of constructed identities her work explores the tools of such labor ironically through typical construction garb as well as more delicately through the expressions she coaches from herself and her models.  One can see the space for their identities under construction and mirrored back for the viewer to take part in.

Some parental discretion is advised.


Tenant Series: Part I

January 2 – 19, 2013 

Space 4 Arts’ gallery has shown works from all over the world, the country, and southern California.  But to kick-off the new year, we were proud to take the opportunity to showcase some of the artists that reside at Space 4 Art.  Through a series of one week group shows we  explored the relationships between artists working in concurrence over various lengths of time and through a wide array of materials.  We call this the Tenant Series.   The first Tenant Series was a group of three shows that featured 10 different artists.

Exhibiting artists: Josh Miller, Chris Warr, Asha Sheshadri, Van Tran, Mindy Donner, Jenna Ann, Max Daily, Jessica Rose, Linda Litteral, and Ben DeHart.


Beast Mode

01/02/13 – 01/05/13

Two-man show featuring brutal sculptures and formal paintings.

Josh Miller

Chris Warr


One thing led to another…

January 9 – 12, 2013  

The San Diego Guild of Puppetry and Space 4 Art presented 6 tenants who create time-based works through objects, puppetry, performance, video, and music.

Asha Sheshadri

Van Tran

Mindy Donner

Jenna Ann

Max Daily

Chris Warr




January 16 – 19, 2013  

This show featured three painters from Space 4 Art. In Reflections each artist reveals their perspective of and reflection upon society through their preferred medium.

Jessica Rose

Linda Litteral

Ben DeHart 



November 11 – December 15, 2012

On Saturday, November 10, Space 4 Art hosted the opening reception for Jamais Vu an imaginative and skillfully crafted exhibition featuring the work of accomplished Los Angeles artists, Michelle Carla Handel and Michael Arata, and locally renowned artist, Ernest Silva. For this exhibit, the Space 4 Art curatorial committee selected sculpture, photos, and paintings that foster consideration of the darker side of our collective identities. Standing before these works, viewers are transfixed by a moment of paramnesia or Jamais Vu – a disorder of memory characterized by the illusion that the familiar is being encountered for the first time.

The opening reception of this exhibit also included open artist studios, refreshments, and a wild evening of onstage multimedia performances and experimental music curated by local visual/video artist Mnstrpsy. Performances included Dancing Strangers, a post-punk, art-rock influenced duo from Tijuana and Innerds, a math-lounge duo who claim influence from Zandar.


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.


Michael Arata, Artist/Chair at West LA College department of Arts & Humanities. Recently had his first museum-scale retrospective Arataland! Hosted by the Beacon Arts Building. He’s been making painting, sculpture, drawing, photography and installation in Los Angeles for the last three decades. In the words of critic Ryan Stabile, “His work is a complex and idiosyncratic vision – darkly humorous, playfully erotic, conceptually quirky, and often confrontational.”

Michelle Carla Handel recently received her MFA from Claremont Graduate University. She received her BFA from Parsons, The New School for Design, New York. Since graduating, she has shown steadily in Los Angeles at notable locations such as Weekend Gallery and Garboushian Gallery.

Ernest Silva is a long time painting professor at the University of California, San Diego. His paintings, sculptures, and public installations have shown nationally since the 70′s. In his words, his work “is a personal view, assembled to invite a consideration of human nature. Not the sum of objective descriptions but the combining of subjective experience and perceptions of the objective world.”


The New Listeners

September 8 – October 13, 2012

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.

Jesse Sugarmann is an interdisciplinary artist working in video, performance, sculpture, and fibers. His work has been exhibited both nationally and internationally in venues such as the Getty Institute, el Museo Tamayo, the Portland Institute for Contemporary Art, the Banff Center, Filmbase Dublin, Human Resources LA, Drift Station, and the 2010 Portland Biennial. His artwork has been written about in publications including ArtForum, Art Papers, ART LTD, Art Cards, Art Fag City, Art Car Nation, ArtSlant, and the New York Times.  Jesse is represented by Portland’s Fourteen30 Contemporary and is the recipient of a 2012 Creative Capital film/video grant.  Jesse lives and works in Bakersfield, California.

Jack Ryan is an artist and independent curator living in the Pacific Northwest. He is a co-founder of Fugitive Projects based out of Nashville and a member of Ditch Projects in Springfield OR. Solo show exhibition history includes Maison Laurentine (Paris France), Archer Gallery (Vancouver WA) and Cascade Gallery (Portland OR). Group shows include The American University Museum (Washington DC) Powerhouse (Memphis), Brooks Museum (Memphis), Crawlspace (Seattle), Hunter Museum (Chattanooga), The Frist Center (Nashville), and Consolidated Works (Seattle). Recent screenings include The Hirshhorn Museum (Washington D.C), MICA (Baltimore), The IMAFY (Cairo Egypt), Dublin Electronics Arts Festival (Ireland), Ausstellungsraum Klingental (Basel, Switzerland), 21 Grand (San Francisco), and The Phillips Collection (Washington, D.C.). Research awards recently brought him to residencies in Iceland and to the New Media Institute’s Interactive Screen in Banff, Canada. Ryan received his MFA from the University of Georgia and previous to that he studied as an undergraduate at The University of Oregon and Hunter College in NYC.

Author & Punisher is an industrial doom and drone metal, one man band utilizing primarily custom fabricated machines/controllers and speakers.  Tristan Shone has performed and exhibited these machines in festivals and exhibitions in the United States and abroad extensively. He released his third album, a sculpture/art based album entitled “Drone Machines” in 2010 on Heart & Crossbone Records out of Tel-Aviv.  Author & Punisher’s newest record Ursus Americanus was released April 2012 and focuses primarily on Dub Machines. Drone/Dub Machines are custom made and fabricated from raw materials and utilize open source circuitry. The devices draw heavily on aspects of industrial automation, robotics and mechanical tools and devices, focusing on the eroticism of interaction with machine.  The machines require significant force from the performer, aligning he or she with the plodding drone and doom influenced sounds that are created. Alongside fabricating machines and composing sound for performance, Tristan Shone works at the National Center for Microscopy and Imaging Research ( as a mechanical engineer and the Center for Research and Computing in the Arts ( and at the University of California, San Diego as a researcher in sound interface design.


Do Anything

JULY 13 to August 12, 2012

The centerpiece to a multitude of events taking place at Space 4 Art from July 12 through 15, 2012 is the exhibit Do Anything. 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.
Opening Reception June 16
6 – 10 pm Saturday

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.

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.

About the Artists:

Veronique d’Entremont is completing her MFA at UCLA this year. Her photograms and sculpture both reveal investigations of the artist’s body. In different ways, the artist leaves her impression on the works, projecting, or leaving a trace of herself behind. In her in-progress comic book, some pages of which are included in the exhibition, she visualizes a conversation with her grandmother, which primarily focuses on her practice, but exposes elements of her relationship with her grandmother, and her late mother.

Janna Ireland is finishing her first year at UCLA. Her Altars to Southern California depict the artist in her husband’s family’s backyard in the San Fernando Valley. Filled with imagery of pools and palms – clear symbols of Southern California – Ireland’s work investigates her place within this new city and the family of which she is now a member.

Jae Hee Lee is completing her MFA at UCSB this year. Her video, To Remember My Grandma, depicts the artist brushing her teeth while subtitles recall stories of both her and her mother’s relationship with Lee’s grandmother, who passed away three years ago in South Korea, a country they had left nine years previous. The performance explores the memories of these relationships and the changing perceptions, particularly after they are gone, of the people who make up our families.

Tiffany Ma is concluding her third year at CSUF. Her small “animal” sculptures, with their Dali-esque long spindly legs and absence of head, remove what the artist deems to be the root of judgment in our society – the face. In doing so, Ma imagines a world where living things would exist without this capacity for negative critique. In her Home series, Ma manipulates black and white copies of home images from a 1970s House Beautiful magazine, and couples them with terse text expressing doleful notions of home, self and family.

Vabianna Santos is completing her MFA at UCSD this year. In her work Agree to Be With Yourself, two hot pink amps, poised on an altar, are linked together, the treble knob oscillating back and forth resulting in a rhythmic “breath.” The sculpture emphasizes the absence of a body, and perhaps specifically that of a youthful teen music fan who no longer exists having grown out of her novelty amplifiers.

Jessica Sledge is completing her MFA at UCSD this year. Her current project centers on her relationship with her neighbor, Judy McCloud. In her three-channel 16mm film, Sledge searches through the contents of McCloud’s garage, emptying it of its contents: a huge collection of materials for making lamps, a former craft of McCloud’s. The two women perform ritualistic tasks, and create new objects out of these materials – McCloud passing along both her knowledge and personal artifacts to Sledge. These new constructions are neither purely Sledge nor McCloud but a true union of the two – a representation of their relationship.


Immaterial Ergonomics

April 14 – May 26, 2012

Opening reception - April 14
6 to 10 PM

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.

Brice Bischoff is a Los Angeles-based artist who transforms photographs of natural settings into the surreal with experimental techniques. He received his MFA from the San Francisco Art Institute in 2007. His work has appeared in exhibitions in New Orleans, Los Angeles, San Francisco, Washington D.C., St. Louis, Tokyo, and Warsaw. In 2007, he was a member of the art collective, Self Made, who ventured on a 22-city art tour across the United States and Canada. His work is in the collections of the Ogden Museum of Southern Art and the New Orleans Museum of Art and has been featured in the textbook Pinhole Photography, Fourth Edition.

Ryan Perez, who was born in Oceanside but now lives in Los Angeles, received his BFA from Pasadena’s Art Center College of Design in 2008 and is currently an MFA candidate for the spring of 2012 at University of California, Riverside. He uses materials and techniques common to both commercial and art production. His sculptures and photographs attempts to speak towards how seduction and desire is located in both the mass produced and the art object. Acknowledging an affinity with the commercial, while slightly diverging from it, his work flirts with ideas dealing with the surface of high modernism and suggests hints of how the individual deals with mass industry/culture.

Matt Sheridan of Los Angeles works in animation, video installation, short film, painting and collage. His work focuses on the power relations between bodies and information. He received his MFA from Art Center College of Design. While working for MTV, Nickelodeon and the NBA, he also taught animation at New York University’s Tisch School of the Arts, the School of Visual Arts and Pratt Institute.  He has shown in the USA, UK, Brazil, Iran and India, the Netherlands and France. Matt Sheridan’s portion of Immaterial Ergonomics was made possible in part by an ARC grant from the Center for Cultural Innovation.

Maria Walker lives and works in Brooklyn, New York. She builds complex stretchers that involve irregular pieces of wood poking out against the canvas. The canvas forms topography of peaks and valleys that the artist responds to with acrylic paint. The stretcher dictates the flow of water and acrylic paint across the surface to create the image; She received an MFA in 2006 from the Tyler School of Art, Temple University, in Elkins Park, Pa.

Michael Trigilio (starvelab) is a multimedia artist, filmmaker, and co-founder of the long-running experimental Neighborhood Public Radio project. The starvelab music he will perform at Space 4 Art has been described as a rocket ship celebration across a thousand hallucinatory emotional landscapes. He recently showed work from his Speculative Religious Electronics project at Disclosed unLocation in South Park, San Diego, and was part of the Wireless exhibition at the Santa Barbara Contemporary Arts Forum in November, 2011. He teaches courses in Media and Sound at University of California, San Diego. Some sounds and information are available at

Outside (in the cubes):
Anna Chiaretta Lavatelli’s “My Pink Room” is an installation that will be up for one night only. Lavatelli works in installation, performance, and video to examine femininity and expectations in cinema— how moving image has fragmented realities and female identity. The Pink Room is a stage for the construction of an identity, just as girls fill their room with objects to dictate who they are with these accouterments of gender.



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..




Brianna Rigg

If the Ocean Was Whiskey

October 29 – December 3, 2011

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.

About Rigg: Rigg was grew up in Ashland, Oregon. She attended The Evergreen State College where she received her Bachelors Degree in 2002. Brianna is currently an MFA candidate at the University of California San Diego. Recent exhibitions include; Grey Market, Fe Gallery, Pittsburg PA, 2011, Possessive/Obsessive, Art Produce Gallery, San Diego CA, 2011, Cross Disciplinary Productions, Deans Office, UCSD, La Jolla CA, 2011, Somatic Sensor, Highways Performance Space, Santa Monica CA, 2011, Mourning California, Periscope Projects, San Diego, 2010, Never Took the Drugs I Meant to Take, solo exhibition, VAF Gallery, UCSD, La Jolla, 2009, and The Dark Tower, Compactspace Gallery, Los Angeles CA 2009.



Marie Thibeault

Emanations: Paintings and Works on Paper

September 3 – October 15, 2011

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. Her work can be viewed at

Her most recent exhibitions have been at the George Lawson Gallery in San Francisco, The Torrance Art Museum and the Jancar Gallery in Los Angeles. She has a bachelor’s degree from the Rhode Island School of Design and masters of fine art from University of California, Berkeley.

Marie Thibeault


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.





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.




Adrift, A Raft Opening Reception 4/1/2011



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. As we celebrated our first year, he honored this achievement and looks to the future of our organization.

Mike Calway-Fagen
May-ling Martinez
Joshua Jon Miller
Morgan Manduley
Claire Zitzow,

Fifth Season Gallery Show at Space 4 Art San Diego


Fifth Season Gallery Show at Space 4 Art San Diego

Fifth Season Gallery Show at Space 4 Art San Diego

Fifth Season Gallery Show at Space 4 Art San Diego

Fifth Season Gallery Show at Space 4 Art San Diego

Fifth Season Gallery Show at Space 4 Art San Diego



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.




September 2010

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.

Thanks to each of these artists for sharing their work with Space 4 Art and the San Diego community.