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Back to Exhibitions Luciana Abait September 27 - January 4, 2026 • Past Main Gallery Elevations and Extensions explores the impact of climate change, especially as it pertains to marginalized communities and patterns of global immigration. Luciana Abait’s large-scale photo collages capture vulnerable natural phenomena, preserving their fleeting beauty. Abait employs the use of vibrant, unnatural color pallets, alluding to the toxicity and pollution impacting our planet. Abait’s Road Trip Series consist of digitally altered photographs that she captured while driving through the American West. By showcasing the landscape’s vivid beauty, she aims to inspire hope and care when it comes to protecting and preserving the environment. Luciana’s Iceberg Series was inspired by her own feelings of instability. Collaged from found images of icebergs and Luciana’s photography, she creates imaginary landscapes that blend personal experiences with collective geographic history. Unlike Abait’s other photographic works, the images in the On the Verge series have not been edited or manipulated by the artist. On the Verge includes photographs taken at locations around the border of Arizona and Utah, including Lake Powell, a rapidly shrinking reservoir, and Glen Canyon Dam, a key site in the distribution of Colorado River water to millions of people across the West. Abait’s large-scale installations invite viewers to reflect on their place in the environment as well as their role in its transformation. Maps That Failed Us, an installation comprised of world maps constructed to resemble a towering mountainside, interrogates the arbitrary state of human imposed borders. The installation gestures towards the vastness and interconnectedness of the world we inhabit. Agua was created as a meditative space where viewers can reflect on the importance of water, one of our most precious natural resources. Abait is invested in water as a reoccurring symbol of rebirth across multiple cultures and religions. Through her immersive installations, Abait fosters moments of contemplation and connection, urging viewers to consider their relationship to nature and each other. Image Credit: Luciana Abait, Abyss (detail), Photo-collage, soft pastel and pencil on wood ppanel, 2019 About the Artist Big Title I'm a paragraph. Click here to add your own text and edit me. It's easy.

back to list Christopher Konecki Konecki is self-taught artist and constantly experimenting. He is known for completing large scale aerosol murals, fine artwork including paintings and miniature sculptures, as well as various public and private site specific installations. Konecki's work is explorative of social consciousness, generally irreverent, and focused on subjects that are both serious and absurd. His use of found and 'repurposed' objects in his work advocates the reassessment of typical ideals of function and beauty. Elements of nature often collide with harsh urban landscapes and elements of street art and graffiti, symbolizing the ongoing struggle between the harmonious coexistence of these two competing monumental forces.

back to list Emily Ding Ding is a painter and muralist from Texas. She most often has animals as her focus and she uses a glowing spectrum of colorful spray paints to create her large scale artworks.

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

Tahlia Campbell < Back This Was the End By Tahlia Campbell As I pushed my head up from beneath the soil, I felt the sun beating upon me, sun I was shocked to feel, my first question was where am I? The ground upon which I was living in was solid, it was dry and brittle, it was not what I was expecting. As time goes on I find myself making many friends, insects of all types, however, I seem to attract the bees the most. I could not smell anything but myself, I have a strong scent, a strong heavenly scent at that. As time goes by I find parts of myself being picked and taken back into the house that sits across from me. I see the large animals I hear are called humans through the house. They seem to take a delight in smelling me, and then using my scent, which is also my flavour, to cook with. I hope I bring them joy. When the humans take parts of me I do not mind, I have a thick trunk, it’s long and gnarly, and from that I have hundreds upon thousands of flowers and thick leaves growing from arms all along. I find myself sprouting and spreading increasingly each day. When the wind blows my flowers fall and as they fall I sprinkle my seeds allowing my offspring to grow in the other beds in the vicinity. I can grow to be broad and large-scale, however, I myself am not quite at that point yet. From where I sprout in my bed, I have a clear view of all that ascends around me, the chaos of the small humans, the fluffball I hear called dog seems to take delight in sniffing me and rolling around in my extensive branches, he sometimes leaves me bent and broken, but when the water sprinkles at nightfall I am able to repair myself. It is rather peculiar you see, sometimes I am only gifted water at dawn and nightfall, but on the rarest of occasions I find myself drowning in pools of water all around, I think this is what they call rain; we do not get it often but when we do I bask and flourish in the droplets. One day I awoke to the sound of something I had never heard before, I did not know what was happening but the world I knew had descended into chaos around me. The trees larger than me were dropping to the ground. The delicate flower bushes around me were dropping to the floor, I could see everything dying around me. I felt my flowers and saporous leaves being pulled from my arms, I could not fathom what was happening to me, I thought my qualities too valuable to be taken away from my home, evidently I was wrong. These are my final moments, I know it. Just as this thought occurred to me I felt my bed being disrupted, the desiccated soil around me flying up. My roots were removed, as they were taken from the earth I felt my last breathes being taken. This was the end. Previous Next

< Back Andrew K. Thompson Andrew K. Thompson challenges photography's ideals of perfection through a playful and experimental approach. Guided by a simple “What if?” question, his work embraces research and discovery, exemplified by projects like Melting Cameras, where camera-shaped ice cubes made with Caffenol melt onto black-and-white photographic paper. Aiming to transgress the norms of photography, artist Andrew K. Thompson’s work critiques the perceived ideals of perfection typically associated with the medium. His unique practice and process beings with a simple question of “What if?”. This “What if?” factor has allowed Thompson the flexibility of research, play, and discovery, spawning projects such as his Melting Cameras series, which consists of camera-shaped ice cubes made with Caffenol, an alternate photographic process that utilizes unconventional photographic developer, melted onto black-and-white photographic paper. Thompson’s artistic ethos can be further seen in the gritty and ad hoc, handmade qualities in his work. The artist’s hand is an essential element of his process, with Thompson utilizing photography as a tool that is part of one’s artistic practice rather than just a strict medium. He notes that “I believe the tool doesn’t build a house; the hand that wields the tool does.” In all, Thompson’s practice pokes fun at the conventions and systems that make up photography, allowing photography itself to transcend its typical two-dimensional bounds. Previous Next

2015 < View Public Art Projects Yarn Bomb at MOAH 2015 Temporary Art Project After receiving much acclaim from the community for organizing the yarn bombing of Lancaster City Hall, Kris Holiday was commissioned again to install outside MOAH’s main entrance. Holiday expanded her idea to a district-wide project. She and her team were inspired by the whimsical humor art can bring into the world so they created yarn flowers, hung yarn balls from the roof, and covered up bicycles, planters, pillars and walls. A desk they covered from MOAH’s Young Artist Workshop was later donated to R. Rex Parris High School as a permanent installation.