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Up Art Activations at the Preserve Dani Dodge Los Angeles artist Dani Dodge uses unexpected sculptural materials to alter spaces. Her experience as an embedded journalist during the 2003 invasion of Iraq changed her forever. Since then, she has created art and installations that change and challenge expectations. From brightening a black and white snowy forest in Ireland with luminescent tree stumps to turning a Los Angeles gallery into a gantlet of rotating car parts made from baby blankets, her works play with surrealist ideas using innovative forms. The installations merge the rational and the dream state. They often require interaction with the viewers. Although she creates individual works for group shows, she is best known for her installations that confront emotion. In the past she has invited participants to share burdens, joys and sins. Her work often incorporates interactive elements that require participants to reveal personal truths, and in doing so recognize our shared human frailties. She has burned people’s fears, thrown people’s burdens into the ocean and typed people’s secrets for the purpose of posting them publicly. Dodge created site-specific installations at the Coos Art Museum, Lancaster Museum of Art and History, New Museum Los Gatos, Inland Empire Museum of Art, Inglewood Public Library, San Diego International Airport, San Diego Art Institute and more. Dodge’s installation/performance CONFESS at 2015’s LA Pride was named one of the outstanding public art projects of the year by Americans for the Arts. Her work is included in four museum collections and has been shown across the U.S. and internationally. Peace on Earth at the Preserve ... and MOAH /January 25, 2019 Learn More> Dawning of a residency at the Prime Desert Woodlands Preserve /January 1, 2019 Learn More> 2019 Back to list

2023 < View Public Art Projects Superbloom! by Joseph O'Connell 2023 Permanent Art Project Superbloom! is a captivating public art piece that combines the vibrant colors of the wildflowers found in Lancaster's desert landscapes with the city's renowned aerospace industry. Inspired by the resilience, healing, and growth of both our natural environment and our own human population, this art installation celebrates the spectacle of wildflower blooms, known as ”superblooms,” that occasionally grace the region. The art piece features a collection of brilliant-colored disks, carefully arranged on sturdy aluminum stalks held together with bolts and rivets reminiscent of the aerospace industry. The varying heights of the disks symbolize not only the organic growth of wildflowers but also the continuous progress and development of the community. Superbloom! serves as a visual reminder of the coexistence between nature's beauty and human ingenuity, inviting viewers to reflect on what a superbloom in the human realm would look like.

< Back Matjames Metson Featured Structure Artist Employing skillful assemblage and woodworking techniques, Matjames Metson incorporates found antique objects into elaborate mixed-media sculptures using only paint, glue, and matchsticks from the present era. The re-purposing of discarded and forgotten objects is essential to Metson's work; he spends a great deal of time seeking out items from abandoned buildings, estate sales, and friends' garages, among other places where one might find momentos and personal items. For Metson, each object has an assumed history — a resonance of an unknown past — which triggers an inherent emotional response in the viewer. As a survivor of 2005’s Hurricane Katrina disaster, which displaced more than a million people from the Gulf Coast, Metson is driven by the concept of survival in addition to his obsession with hoarding forgotten objects. The hurricane destroyed his artwork, community, possessions, and livelihood, forcing him to relocate to Los Angeles with only his two dogs and the clothes on his back. The relics used in his artwork are assembled together in a way that reflects Metson's existential need to pick up the pieces of his life and create a new structure for his future while remembering and honoring the past. In Tower, Metson utilizes and modifies myriad antique objects including time-worn rulers, pocket knives, keys, fountain pen nibs, printed ephemera, and children's toys. The wooden materials used to construct the architectural elements of the piece were sourced from vintage furniture, doors, and cigar boxes. Incorporated into the assemblage are Metson's signature motifs (wasps, eyes, skulls, rabbits) and phrases (such as "HARD WORK" and "HEAT KING"). At the top of the structure is a hand-carved golden wasp, a sample of the symbolism used by Metson, and an exemplification of his explorations in craftsmanship. The sculpture also features a crank-operated kaleidoscope displaying an array of vintage photographs. Matjames Metson is a self-taught artist, carpenter, and architect known for his assemblage sculptures and his illustrative work. He has completed several graphic novels including Survivor's Guild, an autobiographical account of the Hurricane Katrina disaster. His work has been shown at Coagula Curatorial gallery, the Fowler Museum, and the Orange County Center for Contemporary Art, among others. He was born in Charlotteville, New York and currently lives and creates in Los Angeles, California. Previous Next

Eric Chen < Back The Siren By Eric Chen The siren blares as a firetruck turns and rushes down the street, growing more distant with each passing second. “And there it goes, yet another bout of insufferable shrieking from the firetruck,” Red Rose complains. “Just like every other day. It’s unbearable!” Her leaves flail as a gust of wind strikes her. “I wish there weren’t a fire every five minutes so those firetrucks would cease their incessant wailing!” A small bird perches onto one of Red Rose’s thorn-covered stems. “Maybe then I’ll finally be able to live in peace!” Having been poked by a thorn during Red Rose’s fit of fury, the bird takes off. Considering Red Rose’s fantasy, I address her exaggeration. “Are you sure the firetrucks are that active? I only hear them once or twice a day; less than a minute each time, too!” “Even if they don’t come out that often, it’s extremely painful when they do!” “Red Rose, I think you should focus on all the wonderful things in your life instead of the things that annoy you.” “How could I even manage to do that? It’s impossible to peacefully rest in my bed without a deafening motorcycle passing by and shattering the silence!” “There are a lot of pleasant things that can make you feel better after the vehicles go by. Let’s take a moment to appreciate the environment around us. The cool breeze and the warm sunlight make for a lovely day, don’t you think?” “The weather here is terrible. One moment there’s a drought, the next there’s a flood, and a day later I’m being blown by absurdly powerful gusts of wind that came out of nowhere!” “That may be true, but let’s truly experience our surroundings in the here and the now. Isn’t the soil nice and nutrient-rich? Aren’t the birds’ chirps pleasant to listen to? Don’t you just love the view of the beautiful setting sun? “All I know is that being planted here was a mistake! I should’ve been planted in one of those extravagant gardens owned by royals where the plants live with the best treatment and environment known to plant-kind!” “I understand that you want to live in a fancy home, but it’s not as amazing as you think it is. I once heard about Pink Rose’s experience living in a palace garden. The weather never changed and the flowers were constantly trimmed. There were never any birds, either. You’d find a whole different set of problems there.” “But there aren’t any loud cars near those gardens!” “You’ll always be able to complain about things no matter what lifestyle you lead. However, you can decide how you react to them. If you shift your focus from the noisy firetrucks and seemingly heavenly gardens to what we have in the present moment, you’ll find that your suffering will disappear.” “You’re right. I can’t do anything to stop the noise, but I can accept that it’s there and choose to be at peace with it. I understand now. Thank you, White Rose.” “Of course. Wanna watch the sunset with me?” “That would be lovely.” The siren wails as a firetruck turns and heads down the street, growing more distant with each passing second. Its pitch decreases as it drives further away from the fire station until it is no longer audible. Peace returns to the evening. The plants’ leaves rustle as a gentle breeze passes by. As the sun gradually sets below the horizon, the heavens are painted with several fiery shades of red and orange. A small bird perches onto one of Red Rose’s buds. There is nothing but the sound of leaves rustling in the cool winds. Having been content with the serenity of the environment, the bird sings a song. Previous Next

Tanisha Alam < Back Spring Festival By Tanisha Alam It is always a certain time of the year that you return to us. With your beauty and personality, your color and vibrance, you bring everyone prosperity and good fortune. For one month you are regarded with happiness. Like a symbol of hope, the troubles we faced in the last year will disappear at the sight of you. For one month you are displayed to showcase your beauty and your charm. Invited into the homes of all, you give us luck with your presence. For one month, you are the most regarded of any. In such festive times, there would be no tradition without you. You are essential and you are easy. The activities associated with you bring joy to the community, but you do not require much maintenance. Most importantly you are familiar. Since the beginning you have been there. Every year this time approaches, you are the most anticipated guest. When we have to venture from home, we look for you as a sense of belonging and as a sense of family. When we see you, we are reminded of all the good moments in our lives. A joyous time, that one month. But what happens after? What happens when the weather changes and new flowers bloom? All of a sudden your face drops and your color fades and you emit a certain stench. But why? Are you jealous that others arrive after you? But, you had your grand entrance. You were praised till you were worn out. People toss you aside, some even holding on till the last petal. Because, now that your time has passed, you are out of luck and out of style. The festivities that happen before you bless us for the following year, but they must come to an end eventually. Now we have to get on with our lives. Time does not stop, so we cannot allow you to linger, and that you know. So, you accept it. You make your departure, taking your festivities with you. You understand. That time of year is over, your regard is over. Oh well. This happens every season. No hard feelings. It is rather bittersweet. You know when you will come and you know when you will leave. Mourning you like the dead seems pointless. You will be back, so, instead of crying, let us continue to celebrate. Celebrate our new found luck, prosperity, and joy. Let it resonate for the next year, and once the weather turns cold and that luck seems to run out again, no worries, only a couple more months before you return. You come bearing gifts when we need you most, and once that joy is fulfilled, you depart till your time returns. You have a motive and as long as time continues to move forward, you will continue to fulfill it. That is the beauty of you. Previous Next

Back to Exhibitions Winter 2025 season September 27 - January 4, 2026 • Lancaster Museum of Art and History Blue Grass, Green Skies brought together works that reflected on the natural world, environmental changes, terrain, and scenery, including pieces inspired by the California landscape. Organized in collaboration with Thinkspace and LACMA, the exhibition highlighted diverse artistic perspectives on these themes. ⁠ About the Artist Big Title I'm a paragraph. Click here to add your own text and edit me. It's easy. Strange Pathways Curated by Thinkspace Projects Learn More Blue Grass, Green Skies: American Impressionism and Realism from the Los Angeles County Museum of Art an exhibition from LACMA Learn More Elevations and Extensions Luciana Abait Learn More

Om Baboolall < Back Taking It All In By Om Baboolall From the day I can first sprout, I knew it was gonna be an interesting one. I can still see the remains of my ancestors all around me. Well, the ones they forgot to pick up. These new guys were always the lazy type. When the little one used the pool as a beach, her little plastic shovel remains to be found in her secret spot behind the slide. She used to barely step over the rock to get to her secret place, but now it's just like any other rock, nothing special. The boy was always big enough to step over the rocks, but now he's climbing to the top like it was never an issue. Sometimes I see him in the backyard late at night huffing and puffing when the rest of the house is asleep. I was there when the little girl snuck in some boy, laid down, and watched the stars till the sun came up. I hope she realizes he's texting "zoe" and not just scrolling Instagram. He sprinted out of there when he realized someone was awake in the house. I was in anguish when the little girl almost got caught; she doesn't deserve it. I hardly ever see the people who paid for the house. I overheard their conversations and that they're too busy to go in the pool or go in the backyard, or go on the swing and sit around the fire, or reminisce about the old apartment while sipping their drinks. I know these people won't be here for long. You always get that feeling about the owners when they first move in. Are they here for a long time or just because the brochure looked nice? These guys are just like the rest of them. I can't complain. I get watered every now and then. I mean, I'm next to the peppy rose bushes. I get whatever they don't drink. I wonder what the subsequent owners are going to be like. Are they gonna spend their nights hard at work or get drunk and throw up over by daffodils? Even better, maybe these new owners will fight back if the next-door neighbors try to bully them. The last time that happened, the cops were called. I hope that we can have an owner who cares about the house more than the rest of these mediocre families one day. Word gets out quick around here. Someone heard the front yard talking about getting a new pond. That's one thing nice these guys have decided to do. Who knows, maybe they can fix up the one back here too. Perhaps by then, my time will come. Maybe by then, I can have an owner that waters me first instead of just getting runoff. Until that time comes, I'll just be waiting here with nothing to do but take it all in. Previous Next

back to list Amy Sol Amy Sol spent her childhood years in Korea then moved to Las Vegas, NV where she currently lives and works. Though the style of her work is greatly influenced by a combination of manga, folk-art, vintage illustration and modern design, she remains a self taught artist. She has dedicated many years of her life mixing pigments and mediums to achieve a unique color palette of subtly muted tones. The artist works intuitively from the beginning to end of each piece, with the intent that each painting’s theme or message can be interpreted subjectively. Within these delicate works, you may often find whimsical landscapes populated with exotic plants, animal and females… Amongst the expressions of each character are notions of peaceful reflection and a sense of companionship.

back to list Spenser Little Spenser Little is a self-taught artist who has been bending wire for the last 15 years, allowing his creativity to morph into images that range from simple wordplay to complex portraits. He has related his wire work to a mixture of playing chess and illustration, as the problem-solving component of the work is what continues to inspire him to create larger and more complex pieces.

Sophia Rocha < Back The Periwinkle By Sophia Rocha Oh, periwinkle Taken from your home, But brought into mine. Look how you bloom, At the brightest of times. Oh, periwinkle Your soft lilac petals, Bright in the spring. But when the snow settles, In your roots, deferring. Oh, periwinkle Spread about the ground, For everyone to see. As you gaze upon the sidewalk, Are you ever really free? Oh, periwinkle Is this all you desire? To stay in one place, In your vivid attire. I am the Periwinkle, Involuntarily planted. Leaves that are bitter in taste, But it is the inability to leave that makes me bitter. Previous Next

< Back Holding On Bozigian Gallery and Lobby Atrium Nike Schroeder Nike Schroeder is a Los Angeles based, German born contemporary artist whose work explores process and materiality. Her unique approach to working with textiles, acrylic paint, and ceramic blurs the lines between craft, painting, and sculpture. Integrating mixed media such as porcelain, thread, and fabric, Schroeder utilizes rich symbolism to weave narratives about gender and identity. Shroeder’s most recent body of work explores womanhood, using references to the female body to examine themes of motherhood, sensuality, and power. She employs imagery of disembodied female breasts to speak to the objectification of women’s bodies while simultaneously highlighting their ability to nurture and provide. Her use of materials that are traditionally associated with femininity playfully questions the imposed binaries of high art and craft providing additional layers of meaning to her work. Previous Next

Up Woven Stories Various Artists https://www.youtube.com/watch?v=_l14sC2Je-I Featured Solo Exhibitions Ray Beldner, Elisabeth Higgins O’Connor, Victoria Potrovitza, Katherine Stocking-Lopez, Nicola Vruwink Installations Rebecca Campbell, Peter Hiers, R.Rex Parris High School, Meriel Stern, Victor Wilde Group Fiber Exhibition Orly Cogan, Mike Collins, Valerie Daval, Terri Friedman, Gina Herrera, Anne Hieronymus, Uma Rani Iyli, Sandra Lauterbach, Karen Lofgren, Suchitra Mattai, Art Moura, Maria E. Piñeres, Vojislav Radovanovic, Joy Ray, Leisa Rich, Samuelle Richardson, Cindy Rinne, Nike Schroeder, Annie Seaton Lisa Solomon, Sandra Vista, Dana Weiser, Diane Williams Ray Beldner Ray Beldner uses found imagery from magazines, books, posters, and catalogs to create his dense, textural collages. He then mounts the collages to museum board and cuts eat piece into a unique shape. Like many of Beldner’s past projects, these Untitled Shaped Collages explore the idea of value: each small clipping is stripped of its historical significance and is appreciated for its more formal qualities such as texture, color, pattern, and shape. The works are “woven” together to create a new, visually active image. Ray Beldner is an interdisciplinary artist whose work has been exhibited nationally and internationally and can be found in many public and private collections. Born in San Francisco, Beldner received a BFA from the San Francisco Art Institute and an MFA from Mills College. He has received numerous awards and fellowships, and has taught sculpture, interdisciplinary studies, and professional practices at the San Francisco Art Institute, California College of the Arts, San Francisco State University, and the University of California in Santa Cruz. Elisabeth Higgins O'Connor In Blamethirst and Hate Stayed the Ending , Elisabeth Higgins O’Connor uses familiar animal-like forms to call attention to the struggles of the human experience, and the intersection between nature and culture. These creatures reach their physical and mental limits as they struggle to stand upright – bits of their armor-like coverings begin to unravel, their bodies distort, and their apparent fatigue lends an all-too-familiar sense of vulnerability. O’Connor gathered her materials for these sculptures from second-hand shops and thrift stores, reworking each element through cutting, sewing, ripping, wrapping, roping, tying, and stiffening, to create a surface that feels simultaneously distressed and beautiful. The salvaged materials (boxes, couches, bedding, blankets, pillows, Afghans) used by O’Connor rest on a skeleton of broken down furniture. The weight of these materials are quite heavy, and require “crutches” for support. Elisabeth Higgins O’Connor received her BFA from California State University, Long Beach, and her MFA from the University of California, Davis. She has shown extensively in group and solo exhibitions in California, as well as throughout the US and Canada. Her work has been featured in several publications including Juxtapoz Magazine, ArtForum, Artillery Magazine, and more. Elisabeth has taught studio art classes at the University of Washington, Seattle, Cal State University, Long Beach, and currently teaches as UC Davis. Victoria Potrovitza No Exit and Landscape by Dusk by Victoria Potrovitza were created by embroidering vibrant-colored thread into canvas and applying gouache or acrylic paint. Her background in architecture influences her abstract compositions, and she often references universal tribal symbols, drawing upon personal and shared history. Potrovitza is a contemporary abstract fiber artist with her MS degree in Architecture from UAUIM, Romania. A significant part of her career was dedicated to creating wearable art with a focus on hand-painted silk, and her collections have been featured at New York Fashion Week. During the last decade, Potrovitza shifted her focus from fashion to embroidery. Her artwork is featured online at Saatchi Art, and has been exhibited in the United States, Israel, and Romania. She lives and works in Lancaster, California. Katherine Stocking-Lopez Using natural forms, Katherine Stocking-Lopez investigates her personal experience of womanhood and motherhood, as well as the limits of gender and the human body. Inspired by the inevitability of change, Katherine stitches soft fibers, beads, and found objects together reflect on her struggles with anxiety, infertility, pregnancy loss, postpartum depression, and the imperfections of life. “Growth is inherently beautiful; seeds sprout, flowers bloom, love grows. But when things keep growing, or grow where they shouldn’t, growth can constrict and choke. Depression grows in the dark. Anxieties sprout from deep in the mind. Sickness clusters and bursts like spores. A garden can have both a tangle of thorns and a bloom of flowers. The duality of nature as creator and destroyer is present in my work.” Katherine Stocking-Lopez is a mixed media artist with a specialty in combining traditional drawing and sculpture work. She combines the family tradition of needlework with the complexity of emotions that family itself inspires. Katherine won Best of Exhibition at MOAH’s CEDARFEST juried art show in 2017, and first place in the 3-D/Mixed Media category at CEDARFEST 2016. Nicola Vruwink In Please and Your Everything, Nicola Vruwink crochets magnetically coated plastic film from cassette tapes, rather than the usual yarn. Employing obsolete materials such as cassette tapes is just one way that Vruwink draws attention to the loneliness of modern urban life, the fast pace of technological advancements, and the detritus that humans leave behind. The act of crocheting these typographical works provides the artist with a sense of symmetry and meditative order in the midst of our chaotic world. Originally from Iowa, Vruwink has lived and worked in Los Angeles for the past fifteen years. She received her MFA from the University of Washington, Seattle. Her work has been featured in solo and group exhibitions across the West Coast. She has also been featured in several publications such as the Los Angeles Times, ArtForum, and the Huffington Post. Vruwink is currently an assistant professor at ArtCenter College of Design, and is adjunct faculty at Santa Monica College and El Camino College. May 11 - July 21, 2019 Back to list