Galia LinnVessels and GuardiansSurrounded by archeological sites and spaces in war-torn Israel, Galia Linn gained inspiration from ancient and contemporary relics from past and present civilizations. She reacts to these relics and stories through her sculptures, paintings, and site-responsive installations. < Back Galia Linn, Stone Guardian Galia Linn, Studio Shot Galia Linn, Ancient Vessels of the Divine Galia Linn, Stone Guardian 1/6 Galia Linn Vessels and Guardians Surrounded by archeological sites and spaces in war-torn Israel, Galia Linn gained inspiration from ancient and contemporary relics from past and present civilizations. She reacts to these relics and stories through her sculptures, paintings, and site-responsive installations. Linn creates imperfect vessels used to relay the elemental tensions between the material she works with and the stories and relics that emerge. Through the cracks, fissures, ruptures, and fractures within Linn’s ceramics, metalworks, paintings, and installations, she imbues an aged aesthetic that references layers of Middle Eastern history. For Linn, the imperfect nature of her works is meant to show the vulnerability of humankind and the grandeur and form allude to the interior strength and resilience. Brokenness should be embraced as the objects come to symbolize perseverance and healing, where there is no separation between the vessels she creates and her physical body. Previous Next

< Back to ACTIVATION Michael Mabry, War = Death, 2003 digital file, dimensions variable, Los Angeles County Museum of Art, gift of the designer through Another Poster for Peace, image source: www.anotherposterforpeace.org Jessica Sabogal, Walls Can't Keep Out Greatness, 2018 digital print, 47 7/8 × 23 1/16 in., Los Angeles County Museum of Art, Decorative Arts and Design Council Fund, © Jessica Sabogal, photo © Museum Associates/LACMA Unknown, Speak Out Against the War, 1970 screenprint, printed at a student poster workshop at the University of California, Berkeley, 28 7/8 × 22 15/16 in., Los Angeles County Museum of Art, purchased with funds provided by the Decorative Arts and Design Council Acquisition Fund, photo © Museum Associates/LACMA Michael Mabry, War = Death, 2003 digital file, dimensions variable, Los Angeles County Museum of Art, gift of the designer through Another Poster for Peace, image source: www.anotherposterforpeace.org 1/4 What Would You Say? Activist Graphics from the Los Angeles County Museum of Art January 22 - April 17, 2022 Since the mid-20th century, California has been a beacon of both inventive design and political activism. Exploring the intersection of these two realms, this exhibition uses case studies from LACMA’s collection to demonstrate how designers and artists championed civil rights, opposed wars and injustice, and pressed for change. Skilled communicators by profession, they distilled complex issues into eye-catching images, often appropriating commercial art techniques—from newspaper broadsheets to screen prints to digital downloads—to distribute powerful imagery despite limited resources. Others led workshops and formed printing collectives, providing movements with new methods for disseminating their messages. Their works express both outrage and optimism, going beyond protest to envision alternative ways of living. Key figures and organizations including Emory Douglas of the Black Panther Party, Sheila Levrant de Bretteville of the Woman’s Building, Self Help Graphics & Art, and street artist Shepard Fairey achieved widespread acclaim and notoriety, galvanizing political movements and empowering marginalized communities. This exhibition was organized by the Los Angeles County Museum of Art in collaboration with the Lancaster Museum of Art and History; Riverside Art Museum; California State University, Northridge, Art Galleries; an Vincent Price Art Museum at East Los Angeles Collage. Local Access is a series of American art exhibitions created through a multi-year, multi-institutional partnership formed by LACMA as part of the Art Bridges Initiative. Previous Next

Artist in Residence Up You are (the interpreter) Here Dave Martin Elyze Clifford Interpretive Center In this workshop series participants will venture into the Preserve with Polaroid cameras and unique pointing devices to photograph areas that capture their personal interest. These locations will also be marked on a map to document their connection to the land. Back at the Interpretive Center, participants will bring their images to life by adding text, drawings, and captions using stencils, vinyl letters, and handwritten type. All photographs and contributions will be collected to create a community-generated interpretive map of the Preserve, which will be showcased in an upcoming exhibition. Schedule: Saturday, January 4, 2025 | 11AM - 1PM Saturday, January 11, 2025 | 11AM - 1PM Saturday, January 18, 2025 | 11AM - 1PM https://www.eventbrite.com/e/artist-in-residence-with-dave-martin-you-are-the-interpreter-here-tickets-1133494124439?aff=ebdsshcopyurl&utm-source=cp&utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing January 4 - January 18, 2025 Back to list

< Back to ACTIVATION 1/1 Paul Stephen Benjamin Oh Say January 22 - April 17, 2022 “If the color black had a sound, what would it be?” This is one of many questions that conceptual artist Paul Stephen Benjamin explores in his multidisciplinary art practice. Through sights, sounds, and material, Benjamin explores the color black as a way to introduce and discuss different social perspectives. While visually understated, his work serves as an introduction to a broader and multifaceted conversation about race and identity. Benjamin states, “I work hard to make sure my work is not in your face,” noting that this aesthetic subtlety lends itself to a more critical and analytical approach to viewing his work. “Oh Say” (Remix) is a video installation that presents a compilation of various African American artists and their performances of “The Star-Spangled Banner.” Featured artists include Jimi Hendrix, Stevie Wonder, and Beyoncé, with performances that range from music festivals to sporting events. The performers are arranged in conjunction with imagery of the American flag and the faces of American presidents. The work blends past and present histories, bringing these timelines into the context of today. “Oh Say” (Remix) examines the complexities and nuances of racial identity in America, allowing Paul Stephen Benjamin’s depiction of blackness to present itself introspectively. There is a visual and sonic power that is carried throughout the duration of “Oh Say” (Remix). Each scene is dense with visual information, rendered in black and white. The auditory factor of the work grounds its narrative through the repetition and rhythmic pacing of each audio track. Each track builds and builds until it creates a haunting symphony of sound. These elements act as a compression of time and space, allowing multiple histories to speak simultaneously. Previous Next

Up It Takes a Village Various Artists Artists: Betye Saar Lezley Saar Alison Saar Wyatt Kenneth Coleman Richard S. Chow Lisa Bartleson Scott Yoell Jane Szabo Rebecca Campbell It Takes a Village is comprised of six exhibitions addressing the dynamic of working as a community through the subjects of family, race, gender, and age. Featured in the Main Gallery at MOAH are the works of celebrated assemblage artist Betye Saar and her daughters, artists Alison Saar and Lezley Saar. It Takes a Village will also showcase solo exhibitions of Wyatt Kenneth Coleman, Jane Szabo, and Richard S. Chow, with site specific installations by artists Lisa Bartleson and Scott Yoell. Each of the artists featured in this exhibition explores the relationships and responsibilities of community. Betye, Alison, and Lezley Saar’s work consists of two and three-dimensional assemblages that examine history and identity through the juxtaposition of objects, photographs, mixed media, and fabric. The documentary photography of Lancaster resident Wyatt Kenneth Coleman chronicles the importance of engagement and oral history and the role it plays emphasizing the value of serving one’s community and family. Jane Szabo and Richard S. Chow present different work stylistically, but address similar themes of home, displacement, and sentimentality through conceptual photographs. Szabo records family history through objects while Chow’s images fabricate an imaginary history of what might have been if he had not been an immigrant. Lisa Bartleson’s large scale installation of hundreds of small hand-made houses explores the act of healing through community and engagement. The site specific work of Scott Yoell’s “Tsunami,” consisting of three thousand four-inch tall businessmen figures installed in a giant wave, represents the artist’s thoughts on the global economy and automation. Memory & Identity: The Marvelous Art of Betye, Lezley & Alison Saar Betye, Lezley and Alison Saar have created some of the most powerful, important and deeply moving art in our contemporary world. Their compelling works forge idiosyncratic constructions of social memory and personal identity, as well as the cultural histories underlying them. All three Saars assemble two- and three-dimensional works based on unexpected juxtapositions of form and content. They deploy the flotsam of material culture, from discarded architectural components (old windows, ceiling tiles, wall paper) to domestic detritus (washboards, buckets, shelves) to historic photographs and printed fabrics. “I like things,” Betye asserted in a recent interview. “Every object tells a story. If I recombine them, they tell another story.” In their aesthetic practice of collecting and recombining objects, the Saars become what French philosopher Claude Levi-Strauss called bricoleurs: creators who arrange preexisting articles and images to produce dramatic visual compositions. Levi-Strauss expanded the French term bricoleur (a “Do-It-Yourself” handyman) to include anyone who works with the materials at hand, cobbling together disparate parts to create novel solutions. All of the Saars use recycled materials not generally considered “appropriate” art media. Modern art academies, founded in Europe in the seventeenth century, had privileged oil paint on canvas and cast bronze as elite, “high art” media. In contrast, creations in jewelry, textiles and ceramics were considered “low art” or crafts. When the Saars employ objects like handkerchiefs and old books as painting surfaces, or tin ceiling tiles and buckets as sculpture, they violate long-held boundaries between high and low arts. Their material contraventions parallel the artists’ transgressions of identity-based binaries such as male/female, culture/nature and master/slave. Wyatt Kenneth Coleman: Beyond the Village Wyatt Kenneth Coleman is a freelance photojournalist whose career spans more than fifty years. While serving in the military during the Vietnam War, he studied at the U.S. Air Force Photography School, gaining skills that would benefit him in both his military and artistic careers. Coleman has dedicated his life to documenting social justice movements and people who strive to make a difference in the world around them. Coleman’s dedication to helping others is evident in both his artistic practice and humanitarian contributions. In addition to documenting the legacy of Dr. Martin Luther King Jr., Coleman established a collaboration with Coretta Scott King in 1979, which remained active until her death. Coleman was interested in the effect that the Civil Rights Movement had on the lives of ordinary people, stating, “When a person is committed and makes a contribution to their community, lives are changed and doing the right thing is really key.” His work documents every-day people participating in non-violent activism by committing acts of kindness and working towards social justice. Coleman seeks to emphasize the importance that engagement and oral history play in passing down the value of serving one’s community and family. Wyatt Kenneth Coleman has certifications from the Winona School of Professional Photography, the University of Minnesota and Santa Fe Photographic workshops. Coleman’s work has been shown in publications including 3M , Ebony and Jet Magazines and The Daily Word . Coleman has also been awarded for his selfless volunteer service in the communities of Minneapolis and St. Paul, and was recognized for his volunteer work at the Elm Avenue Community Garden by Assemblyman Tom Lackey, in addition to receiving an award from Lancaster City Council for his contributions to the community. Richard S. Chow: Distant Memories Richard S. Chow’s photography focuses on aesthetic, documentary and conceptual images. Technical precision and composition remain the hallmarks of his work, but Chow continues to examine all aspects of the artistic medium including homemade shooting devices, film, phone and high tech digital cameras. Chow’s interest in photography began during his formative years in Hong Kong. His family moved from Hong Kong to Los Angeles when he was sixteen. Those first years were difficult for an immigrant teenager due to language and culture shifts, and at times were overwhelming as he tried to find his place in this new world. As the American culture was slowly absorbed, southern California was a place that eventually provided him with comfort and inspiration as a young man. Chow now frequents the beach regularly as a place for relaxation and observation. With this series, Distant Memories, he captures the childhood that he could have experienced. Like finding shells on the shore, Chow collects visual memories and while they might not be his own memories, they allow him to imagine a childhood in a place he now calls home. Chow has widely exhibited in solo and juried exhibits across the United States and his work has been internationally published and is featured in several private and public collections. He is a producer/curator for global OPEN SHOW (Los Angeles Chapter), a non-profit that provides a forum for dialog between the public, artists, galleries and collectors. Chow earned awards in Lucie Foundation’s IPA International Photography Awards four years in a row (2013-2016) and he was honored with gold, silver and bronze awards from Tokyo International Foto Awards. Chow lives and works in Los Angeles. Lisa Bartleson: Kindred Lisa Bartleson, known primarily as a sculptor, is an artist who uses resin and ceramic material in both two and three dimensional work. She is known for using natural pigments, inviting a calm, constant and enduring contemplation from the viewer. Lisa Bartleson’s Kindred is a large-scale installation composed of over 200 slip casted porcelain houses that have been manipulated and traumatized, displaying various stages of physical and emotional restoration that explores healing in and by the community. In this work, Bartleson references the Japanese tradition of kintsugi as an exercise of restoration. Kintsugi is the art of repairing broken pottery with gold lacquer as a way to emphasize and celebrate the history of a piece rather than disguise its past. The multitude of houses are bound together by their shared experience and placement. From a standing position one views the entire installation from a bird’s-eye view, similarly to how people perceive and rearticulate memory. The object as body, scarred but beautiful, strong and elastic, becomes central to the experience. The onlooker is asked to examine their cracks caused by physical and/or emotional suffering and the communal foundations of memory and recovery that filter, shift and support identity. Bartleson layers the experience with her own heartbeat and the sound of a baby’s heartbeat in the womb, reminding us that we are all built from material, memory and a universal cycle of life. She earned a Bachelor of Arts from the University of Northern Colorado. Her work is in many prominent public and private collections including the Lancaster Museum of Art and History. Bartleson has been featured in many publications such as White Hot Magazine , Fabrik Magazine , Huffington Post , LA Art Diary , Architectural Digest and Sunset Magazine . Lisa Bartleson was born in Seattle, Washington and currently resides in northern California. Scott Yoell: Tsunami Scott Yoell has delved into traditional and electronic media with his most recent works being drawing, sculpture and video/sound installation. Yoell’s fascination with trinkets and the nostalgia they provoke inspired the Tsunami installation. Yoell first conceived the idea of Tsunami many years ago when visiting a shop in Omaha, Nebraska. He found “a trinket figure, a little metal business man.” The tiny trinket reminded Yoell of the figures atop of trophies, but wondered what a suited man could represent. Intrigued by the unknown, he bought the figure and from it stemmed the idea of Tsunami. This installation consists of three thousand figures, all standing approximately four inches tall. Each figure is of a man in a business suit and hat holding a briefcase. The figures are cast in a “flesh-toned” plastic and are formed from the same mold. The mold deteriorates over time, causing each figure to have minor differences, making each one unique. These individual, tiny men come together to form a tsunami, an unusually large waved caused by a shift in the earth’s foundation. Yoell has a Bachelor of Fine Art from the University of Windsor, Canada and a Master of Fine Art in Imaging and Digital Arts from the University of Maryland. His work has been featured in The Contemporary Museum’s Biennial of Hawaii Artist Exhibition , Honolulu, Hawaii, the Galleria Art Mûr, Montreal, Quebec and Artcite, Windsor, Ontario. Yoell has been featured at the Videoholica 2010 International Video Art Festival , Varna, Bulgaria. Scott Yoell, originally from Windsor, Ontario now lives in Waimea, Hawaii. Jane Szabo: Family Matters Merging her love for fabrication and materials with conceptual photography, Jane Szabo investigates issues of self and identity in her latest body of work, Family Matters. Szabo uses still life as a vehicle to share stories from her life. The objects photographed, isolated on a black field, provoke thoughts about home, displacement and sentimentality. Family Matters incorporates memory, metaphor and allegory to express the challenges, anxieties and joys as Szabo’s role as a daughter and her parents’ caretaker. This series uses objects from their family home, mementos from her childhood, to illustrate the story of their relationship. Using these childhood possessions and simple items that have been in their family for years, she creates tableaus that hint at complicated family dynamics. The presentation of these objects is not merely a catalog of possessions, but a catalog of feelings; of pain and disappointment, loss, burden and hope. Jane Szabo is a multi-disciplinary visual artist who earned an MFA from Art Center College of Design in Pasadena, California. Her background in the film industry, creating prop and miniatures for theme parks, and overseeing set construction for film and television undoubtedly informs her creative process. Szabo’s photographs have been featured in many publications including Huffington Post , Lenscratch , Bokeh Bokeh , L’Oeil de la Photographie , F-Stop Magazine , Diversions LA and ArtsMeme among others. Her work has been included in exhibitions at Oceanside Museum of Art, the Griffin Museum of Photography, The Colorado Center for Photographic Arts, San Diego Art Institute, Los Angeles Center for Photography, Orange County Center for Contemporary Art, Gallery 825 in Los Angeles, and the 2015 Kaohsiung International Photographer Exhibition in Taiwan. February 10 - April 22, 2018 Back to list

Patrick Park < Back My Name is Winky By Patrick Park Today is February 29, 2021. My name is Winky. It is currently the coldest it has ever been. A cold, dark world. Is this all there is to life? A false hope that we may someday escape from this clutching prison. Is that all we can look towards? It feels like a repeating cycle. We grow up together for a while and then one day, some of us stay while others depart. But why me? Why couldn’t I join my friends in the beautiful paradise that is the afterlife? It feels so lonesome, like a rainbow in a storm. I am not beautiful, I am merely a minuscule object that is lost in the vast, unforgiving universe. My bright colors cannot fight off the harsh weather, nor can it ward off the mythological beings whose single footstep can destroy a colony. What is my purpose? A million years can pass and not a single being will notice my presence. We all desire to leave our mark on this world. What is the purpose? A temporary span of experiences known as life is something we consider priceless, but why? An existential question that has been asked throughout history. What is my purpose? Providing something for others until I join my fallen comrades. Why? Why can I not frolic and laugh like those titans? Why can I not run like those animals with four legs? I am stuck with no movement. I am stuck with no purpose. I am stuck with no family. I am stuck finding meaning in my own life. The titans refer to me as a “flower of death”, using me as a crown when mourning the deceased. A fitting name, truly. I suppose I should feel flattered as our family was chosen as a means to honor a titan’s death. They act as though death is something to honor. An interesting concept to say the least. When we die, we (as flowers) are often used as compost in order to help the future generation. But if there’s anything I learned, it’s to live in the moment. Just a few months ago, I had all of my friends near me. We chatted, laughed, and even asked each other questions about life. We were quite the philosophical bunch. However, we had an older gentleman, a fern plant to be exact, that always told us to enjoy the time while it lasted. We often ridiculed him. We believed those times would last forever. Even when each of our companions disappeared one by one, we laughed it off saying that they would be back. We were delusional really, refusing to see our own reality. Perhaps the day will arrive where we may see each other once more. I have not been feeling my best throughout these days, I fear my time to join the afterlife is coming. Today is March 1st, 2021. Something strange happened yesterday. The weather is suspiciously getting warmer. Usually, it feels like an igloo forming inside my petals during the nights however, yesterday’s night was somewhat bearable. Also, I see a tiny seedling about 2 feet on the right. I know it’s nothing and may not survive, but I still feel excited. I lost all my friends, one by one. The fact that I might have a new friend in the near future makes me happy. Would John be a good name? Perhaps I will name him Winky Jr. Although my time is coming soon, I will do everything in my power to grow this seedling. It feels silly to say this out loud but I already feel a bond with this poppy seedling. I will teach it the different things I have learned in this lifetime. Teaching them about the titans, teaching them about the different seasons, and teaching them the different plants. I feel this is the purpose of our lives, plant or titan. Of course, you should expend some of your energy, but you should expend some of your energy to help grow the future generation. I will keep you updated on the progression of this seedling. Today is March 2nd, 2021. I have an update for you. The seedling is almost old enough to begin communicating with me. I’m so excited, I can feel my roots jumping up and down. I also feel nervous about talking with this seedling because I haven’t talked to anyone in person in such a long time. It is also my first time physically communicating with a poppy plant. Poppy plants have a reputation in the plant community as they are one of the most beloved flowers in the state of California. Being able to meet a poppy in person is an incredible honor. I will keep you updated tomorrow when we are able to communicate. Today is March 3rd, 2021. Another major update has surfaced, I have finally exchanged words with the young Poppy. It woke up, scared and confused. I had to talk to it, telling it where we were and what it was. The young Poppy asked for my name, to which I replied “Winky Jr.”. It asked what I was and replied, “A Periwinkle flower”. The Poppy looked confused and went silent for a minute. I decided to start up the conversation once more with, “You are a Poppy flower, a flower that is beloved by the Titans”. The Poppy asked what a titan was. I claimed it was a name we gave to the humans as their footsteps often shook the ground. Of course, this was a silly mistake as it asked what a human was. After spending the whole day passing on my knowledge to the young poppy, I began to give the poppy his own personal traits. The Poppy asked what a good name was. I asked, “How does Summer sound?” The Poppy agreed to this name and our friendship began. After this, Summer thanked me and I welcomed him. Although Summer was the one thanking me, in my heart, I felt I needed to thank Summer. She became the one shining light after several months of darkness. I realized I didn’t need to run and shout like the humans, I just needed someone like me. Someone who could relate to my struggles, someone who was literally in my feet. My will to live became stronger than ever. I hope to see you again tomorrow journal. Although it’s a shame I will not live long enough to see Summer grow, I’m glad I could meet them. Previous Next

Alex Kim < Back Untitled-AK By Alex Kim Today, I felt the most painful experience of my life; I felt a sudden pinch on my spine, followed by a feeling - somehow both hot and cold at the same time - that shot up from my legs and went all the way to the top of my head. No part of my body was unaffected. Something massive had grabbed me. I was terrified. But it’s ok. Because immediately afterwards, I saw the most beautiful thing. When the awful tendrils released me, I felt something else grab my body. Something softer and more gentle. When I looked up, I faced the most wonderful creature. Her eyes, the most vibrant shade of blue that made the cloudless sky pale in comparison, looked down upon me with such a benevolent expression that my body surged with a tenderness and comfort I have never felt before. The creature opened her mouth and released a melodic tone. It looked as though she was communicating to the creature that had picked me up. Reprimanding it for the brutish way it had treated me, no doubt. “So this is what it had all for,” I thought to myself, “The pain must have been some sort of test, and I was lucky enough to pass.” The beautiful creature took me to what I assume was her home. I watched as she filled a long container with water, and when it was half-full, she gently laid me down in it. Can you believe it? I hardly knew her, but she sacrificed a part of her own home and extended it to me. I gushed with adoration and tried to express my gratitude with a movement of my arms, but it was still impossible to move. As I struggled, another one of my petals fell off, looking slightly darker and less vibrant than I remembered. I feel tired now, weaker. But I have never been happier. I love her. I think she feels the same. Previous Next

Emily Schneider < Back The White Rose and I By Emily Schneider Are we alike? I am not sure. Am I innocent and pure? Am I thoughtful and charming too? Do I have thorns that can do harm to you? I believe this varies from the others point of view, For some see me like this, and others say it’s not true. I like to smell like a rose, in a way, I use my perfume that’s called Rose every day. And just like a rose I grew pretty tall, With 5’7 I am really not small. And just like the rose I am not very loud, I am rather shy, but I do like a crowd. I enjoy being surrounded by family and friends, And I like to stay at a party until it ends. The sight of a rose evokes positive emotions in me, It makes me feel happy and peaceful and free. Optimism refueled, half full is my glass, I could watch them for hours and sit in the grass. It also awakens my romantic side, I might say, It reminds me of Romeo and Juliet, the play. Like a rose goes slowly from buds than to bloom, I grew from infant to teenager, and will become an adult soon. To grow the rose needs water, fertilizer and sun, Just like I need water, food, love and fun. If not well taken care of, it will not last very long, Just like with more support I can get very strong. The rose will more and more wither with time, And so will I as I get old after my prime. The beauty will fade and soon it will die, I hope it takes long until my final goodbye. So are we alike? I think in a few ways. It’s up to you to decide if you believe what it says. The white rose is as beautiful flower to be, And I am honored to compare it to me. Previous Next

Martin Bozikovic < Back Untitled-MB By Martin Bozikovic June 16, 2026 I believe my research is getting close to my goal. I’ve realized that the artificial brain that I give my subjects is not large enough in capacity to emulate the brain of a human. I feel as though my technology is far too limited to achieve a grandiose goal like this, one that has no real purpose… but I must continue my research. For the sake of the plants. Perhaps the purpose of this experiment lies more in their own survival than something that should be tested on. But even still, the results are so mind-numbingly disappointing that it becomes more and more difficult to continue this experiment. June 19, 2026 Some of the subjects seem promising. There is a cactus that seems to be dealing with the implants well. Some of the other plants melted on contact with this newfound power. Perhaps their bodies are too underdeveloped for this kind of science. It is difficult to imagine what a conscious plant would act like, given that it cannot emotions in the same way we humans can. I can only hope that they will respond to what is told to them. The cactus seems to notice when it is spoken to, and I had Jerry speak to it from different angles to see if it produced different reactions. Upon analyzing its bodies, the activity in the plant cells was much higher for a short period of time immediately after it was spoken to. This activity was found in areas that were towards the angle from which my colleague spoke to it. I believe this is the start of a breakthrough. June 22, 2026 It seems as though only certain types of plants will be able to physically handle the processes that we are subjecting them to. It seems that flowers and other delicate plants cannot handle these processes, perhaps due to their frail and thin leaves and stems. Thicker plants, such as small trees and, of course, cacti, seem to be able to withstand these conditions better. I will have to heavily modify the plant’s body in order to get a level of consciousness that responds in a meaningful way. Because the process calls for an implant of a massive memory drive, which itself is connected to a computer, I will need to create small stimulus programs to test on the plant. Perhaps I can subject the plant to small amounts of pain and record its reaction. This must be done with caution, however, as the plant is likely already suffering through its current condition, and any more could potentially kill it. June 29th, 2026 The plant is beginning to respond to the stimulus programs. I believe that with further development of these programs and some sort of mobile aid for the plants, they could become as conscious as a human. This will aid their survival rates as they will be able to move and understand when they are in danger, in addition to potentially revealing its defensive tactics when necessary. Previous Next

< Back This is a Title 01 This is placeholder text. To change this content, double-click on the element and click Change Content. This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. You can create as many collections as you need. Your collection is already set up for you with fields and content. Add your own, or import content from a CSV file. Add fields for any type of content you want to display, such as rich text, images, videos and more. You can also collect and store information from your site visitors using input elements like custom forms and fields. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Preview your site to check that all your elements are displaying content from the right collection fields. Previous Next

Brandon Kim < Back October 18th, 2020 By Brandon Kim The last time I touched this journal was three weeks ago. You see, since I was so preoccupied with the cruel yearly abscission, I simply could not be bothered to put everything aside to update my own journal. My maple leaf siblings and I all were carefully administered by the tree we grew on throughout our entire lives. We lived almost leisurely, but there is always a catch to everything that seems too good to be true. It would never have come to my mind that we would all be abandoned by the very maple tree that supported us when resources began to run short. I have chosen to move past the decision of being left behind to die on the concrete sidewalk instead of sulking about the decision that was made. I should have seen it coming from a mile away, but I did not know any better a few months ago. In the previous months, I remember clinging onto the maple tree that gave me life, only looking down and waiting for my impending doom that would soon arrive. Every fall, hundreds of us maple leaves would be left behind and abandoned without a moment of hesitation as a means to conserve resources and survive the harsh, cold winter. The process would repeat itself every year; no matter how strongly connected the leaves were with the heartless maple tree, they were always cut off selfishly. Our hard work to gather resources for the tree would be disregarded every time. After each harsh winter ended, the remaining leaves that somehow managed to live through the winter despite being left on the ground continued to rot. It would only be a matter of time before all the leaves wholly decomposed. Some continue to sulk about the tree’s unsympathetic and cruel methods of taking all the resources for itself, and the rest just were not able to make it through the winter or were moved to a completely different location in the cold gusts of wind. I feel betrayed rather than depressed as I lie here on the cold sidewalk. We are ultimately used and given special treatment only for a certain amount of time, and it feels that all of our hard work was for nothing. Our existence as maple leaves is an enormous contribution to why the very tree that abandoned us is standing there to this day. Now our only option is to watch the new maple leaves grow in our place, not knowing what they are in for, as we continue to slowly rot away on the pavement with the maple tree’s back turned to us. Previous Next

2020 < View Public Art Projects "#CountMeIn" Poster Project 2020 Temporary Art Project As part of the larger #CountMeIn Census project, artist Jane Szabo photographed the community in and around the BLVD Cultural District. These portraits became the exhibition “I am Here” which can be seen in the storefronts of the businesses along Lancaster Blvd.