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Xiem Gallery . 1563 N. Lake Ave . Pasadena . CA 91104
Telephone: 626-394-2842
Gallery Hours: Tuesday - Friday; 10am - 6pm
Saturday: 10am - 5pm
Director: Suzette Munnik
suzette@xiemclaycenter.com
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Xiem Gallery
DIG: An Imagined Archeo-logism
An installation of Ceramic Sculpture by Sierra Pecheur at Xiem Gallery
DATES: February 16th – April 12th, 2008
GALLERY RECEPTION: Saturday, February 16th, 6 – 8 pm
ARTIST’S TALK: Saturday, February 23rd, 1pm
Xiem Gallery is proud to present the first installation of DIG: An Imagined Archeo-Logism, an exhibition of ceramic sculpture by Sierra Pecheur.
In this body of work the artist seeks to challenge existing belief systems by exploring the possibility of myth as propaganda. Pecheur addresses the stories behind two cultural myths: Medusa--which in Sanskrit means “sovereign female wisdom,” yet somehow evolved into a malicious snake-haired monster in Greek myth, and Icarus & Daedalus--whose relationship is explored in Pecheur’s questioning of cause, effect and accountability. A two-foot version of the Willendorf Venus, the Earth’s guardian of the past 20,000 years, begins the Medusa evolution. With her chest cavity wide open and broken heart exposed, she still stands--a Medusa accompanied by her guardians: creatures both mythical and real.
DIG comprises close to 400 ceramic pieces that include over 350 skulls and bones. The installation represents an archaeological site, but in this case, the excavated clay sculptures are decidedly not congruent with the stories that popular myth promotes. Pecheur’s longstanding query, “What if...?” is answered with intricate clay sculptures which exude the ferocity and whimsy associated with works by Arthur Rackham and Goya.
DIG is designed to be an interactive exhibition that encourages attendees to investigate their own belief systems, values and biases. As part of the eight-week exhibition, the artist will host workshops that offer attendees the opportunity to create their own relics and artifacts by making pieces that represent what they’d like to be found 10, 100, even 1000 years into the future. These items will be documented and incorporated into the exhibition.
For more information on DIG and Sierra Pecheur, please visit
http://www.juxtapoz.com/index.php?option=com_content&task=view&id=2914&Itemid=50
www.animaginedarcheologicaldig.com
sierrapecheur@verizon.net
High resolution downloadable photos are available upon request
All Xiem Gallery events are free and open to the public
SIERRA PECHEUR
Artist’s Statement
I am building these sculptures for an ongoing project.
It is an imaginary archeological dig that questions accepted mythology and beliefs.
The figures “discovered” in DIG are made of clay, one of the materials that helps place epochs in time. The style is sometimes grotesque, sometimes whimsical.
The pieces are colored with pulverized minerals, underglazes with flashes of bright lusters.
My work often has a charred, recently ancient, unearthed quality
There are no heaps of dirt; the pieces have been cleaned for viewing.
Sierra Pecheur
sierrapecheur@verizon.net
www.animaginedarcheologicaldig.com
Recent Exhibitions at Xiem Gallery...
Clay: The Ecstatic Skin of the Earth
Juried by Paulus Berensohn from national and international entries
October 13th - November 24th, 2007
Xiem Clay Center is proud to present this unique exhibition of ceramic works selected by Paulus Berensohn, visionary artist, teacher and author, as its contribution to Pasadena's tri-annual Festival of Art and Ideas. The theme of this year's festival is Skin. From close to 400 pieces submitted for consideration, the following works were accepted:
1. Kim Alderman – Woodstock, NY
Crossing the Waters
 
Bird Goddess Moon Goddess
2. William Baker – Bakersfield, NC
Untitled Jar
3. Marc J. Barr – Murfreesboro, TN
Tea Set 123/R4
4. Rachel Berg – Logan, UT
Hovering with Leaves
5. Paul S. Briggs – Katonah, NY
 Windflower (Lilium)
Windflower (Weeping)
6. Josh Copus – Asheville, NC
Art is the Animal and Not its Tracks
7. Melanie Daubs – Salt Lake, UT
Distant
8. Joe Davis – Logan, UT
White Dripper
9. Juan Granados – Lubbock, TX
El Mundo
10. Michael Imes – Pewaukee, WI
Divided Goose Vessel
Divided Kiva Bowl
11. Nick Joerling – Penland, NC
 
Vase Whiskey Bottle
12. Suzanne Kane – Las Cruces, NM
It Begins with a Murmur
13. Nanette LaSalle – Topanga, CA
Babe
14. Mika Negishi Laidlaw – Mankato, MN
Lullaby
15. Suze Lindsay – Bakersville, NC
Pocket Vase
 
Stacked Vase Footed Vase
16. Joan Lurie – Brooklyn, NY
Untitled
17. Presley Martin – Oakland, CA
Chance Encounter
Family Planning
18. Andrew Martin and Juan Granados – Lubbock, TX
 
Preserver Branch
19. Paul A. McCoy – Waco, TX
 
Harvest Urn Creation Urn III
20. Lindsay Oesterritter – Logan, UT
Set of Bud Vases
Lidded Jar
21. Gay Smith – Bakersville, NC
Plump Ruffled Jar
Hourglass Bowl
22. Jordan Taylor – Union Dale, PA
 
Untitled V (Drinking Bowl Series)
23. Goedele Vanhille – Norwood, CO
GV125
24. Lynn Anne Verbeck-Terrier –Brooklyn, NY
Exploratory
25. Pamela Pierson Voorhees – Altadena, CA
Quercus balanus
26. Ann Wells – Nashville, TN
Light Trap #12
27. Dawn Whitehand – Victoria, Australia
Red Earth
Fossil Rock
28. Myron Willson- Salt Lake, UT
Erosion Form
Prices and Artist's Statements and Biographical information available on request from Xiem Gallery: 626-794-5833 or suzette@xiemclaycenter.com
Paulus Berensohn "Show-and-Tell"
Xiem Clay Center: Sunday, November 18: 4pm
This event is free and open to the public - please see our calendar section to register.
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Recent Exhibitions at Xiem Gallery
BROKEN BOUNDARIES: Transitions to Expressions
Patrick S. Crabb
August 25 - September 22, 2007
GALLERY RECEPTION: Saturday, August 25, 6-8pm
BROKEN BOUNDARIES: Transitions to Expressions reflects the dynamics of iconoclasm and synthesis that characterize the ceramic work of Patrick Shia Crabb.
ARTIST'S STATEMENT
The work on show represents a cross-section of my various paths takenover the past decades. In particular, with the shard series (vases/plates) and the temple series, the two paths crossed over("transitioned over") to the most current path with the shard figures series. The facial componentfrom the temples (architectural forms) was placed onto the shard bottles (already had a figurative quality), resulting in a new direction.
Each figure is now going thru transitions, with social commentary within the shard patterns. Conceptually, it's about the "beautiful life" reality (shard surface colors) that most of us enjoy, but periodically thru the media or thru personal tragedies "other realities" (not so nice) enter our perceptions. It's the yin-yang tug of life.As an artist I work with distinct techniques and multi-cultural ideas (mostly from archaic third-world countries) that are dear to me.
ABOUT THE WORK
My clay vessel forms over the past 25 years have always been deeply rooted in ancient artifacts and their historical cultural backgrounds, such as prehistoryJapanese Jomon wares, primitive African sculptures, Southwest American Indian art, and pre-Columbian ceremonial figurines. This growing interest has evolved slowly from vessel making to architectural constructions.
My most current interpretations (over the last 7 years) have their foundationsin architectural analogies with cross-visual references from Shinto shrines to Indian adobes to Mayan temples (not site specific). These forms are an extension of my past vessel-making interests.
In many ways architecture is the most generic, fundamental form of a vessel. It holds not only thephysical, but also the spiritual embodiment of humankind. Ritual and ceremony are major components of ancient architecture -- also a strong component in my works.
As I look back over this body ofachievements, I find that the ideas metamorphosed from the earlier exterior expressions to presently the internal impressions . The newest pieces have a stronger quality ofaltar/icon imagery -- impressions found inside of the architectures. Thistransformation developed unconsciously only in the past few years. And each new piece is now consciously projecting symbols and iconography on a multicultural level.
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ACS-DC Jeanne Ward Foundation Emerging Artists Exhibit
July 28th - August 11th, 2007
In support of Xiem Clay Center's commitment to furthering public awareness and appreciation of ceramic art, Xiem Gallery is hosting an exhibition presented by the American Ceramics Society - Design Chapter. This juried show comprises entries for the the ACS - DC Jeanne Ward Foundation Fund for Emerging Artists. Entry to the competition is limited to students currently enrolled in a junior college or university who are also members of The American Ceramics Society - Design Chapter of Los Angeles.
GALLERY RECEPTION: Saturday, July 28th, 6 - 8pm
EXHIBITION DATES: July 28th - August 11th, 2007
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Maker and Collector: The Poetics of Pottery
Illuminating the dialogue between makers and collectors of ceramics, this exhibition of recent works by San Francisco ceramic artist Christa Assad is presented in the context of reflective textual meditations from collector and author Richard Jacobs' series: "Letters to a Potter".
EXHIBITION DATES: June 9th - July 21st
GALLERY RECEPTION: Saturday, June 9th, 6 - 8pm
CURATOR'S STATEMENT from Dr Richard Jacobs:
It is my hope that this exhibit will visually demonstrate the integral relationship between pottery and the memorable experiences of engaging pottery."Letters to a Young Potter" was the subject of an article in The Studio Potter, summer, 2004. My 72 letters to Christa Assad reflect the endemic issues of the collector and the maker, and the joys celebrated and difficulties encountered in the making and receiving of pottery.
I am the proud collector of the work of one of the most talented potters working today, Christa Assad. In this exhibit there is a close juxtaposition of the word and the object, the idea and the artifact, which will document the capacity of pottery to be a sublime messenger of metaphorical and cultural meaning. Pottery is central to the legacy of human civilization, central to the sublime achievements of human culture. I want this proud tradition to be represented in this exhibit by the pottery of Christa Assad and the reflective meditations of a collector of ceramics in his "Letters to a Potter".
ARTIST'S STATEMENT from Christa Assad
Working within the timeline of ceramic history, my position comes humbly after centuries of past civilizations, whose technological developments and discoveries are still viable today. My education and formal training honors these cultures and their ceramic traditions, and places me in the context of contemporary American art.a culture wherein handmade pottery seems archaic, but somehow manages to endure.
Bridging the gap between historic utilitarian vessels, and the pedestal art of our present culture is what I find most challenging. My ceramic aesthetic allows me to be inclusive in the exploration of contemporary approaches.I think of clay as a building material that can mimic any other, and my pots speak of architecture, car design, and other massive structures. No idea is too big or too small to investigate. The clay can always be recycled before the firing.
Making pots provides a few very important things for me: discipline, including regular physical and mental exercise; a measure of creativity and productivity; a role in history as artisan. The choice to pursue potting as a profession came as a bit of a surprise to me at first, but now seems the ideal solution to the puzzle of life. It satisfies the athlete, the academic, and the connoisseur in me alike. I can be my own boss, make my own inventory, and connect with those who buy and use my work. Along with the rewards, there are many lessons to be learned in patience, cooperation, and loss.
ABOUT THE ARTIST 
Christa Assad is a studio artist and co-owner of Verdigris Clay Studio + Gallery, in San Francisco's historic Cannery Building. Her interest in industrial design and architecture is revealed in functional, contemporary works that have been featured in Garth Clark's Shards , Kevin A. Hluch's The Art of Contemporary Pottery, and Lark Books' 500 Teapots and 500 Pitchers. Assad and her work most recently appeared aboard Artstream Nomadic Gallery at the 2007 NCECA conference, the American Pottery Festival at the Northern Clay Center, Minneapolis, MN, and Art of the Pot, in Austin, TX. She regularly presents workshops and visiting artist lectures at universities and art centers across the country.
Assad holds degrees from Indiana University (MFA, 2000), the Pennsylvania State University (BA, 1992). She studied with West Virginia University's summer ceramics program in China (2000), as a special student at the Nova Scotia College of Art and Design, Canada (1993-94), and at the University of Leeds, England (1989-90). Assad was awarded a J. William Fulbright Research and Travel Grant (1993), and was nominated for the Louis Comfort Tiffany Biennial Award (2005). She is an internationally exhibiting artist, and a member of the Association of Clay and Glass Artists of California.
ABOUT THE CURATOR 
Dr. Richard Jacobs is a retired university professor and long time collector of antique and contemporary pottery from a number of cultures and countries.
He has written a series of letters, now numbering over seventy, during the last five years to Christa Assad, a potter in San Francisco. Dr Jacobs considers Christa Assad to be one of the finest potters in ceramics today and several of her pieces are represented in his collection. The letters reflect the endemic issues of the collector and the maker, and the joys celebrated and difficulties encountered in the making and receiving of pottery.
"Letters to a Young Potter" was the subject of an article in 'The Studio Potter' ceramic journal, Summer, 2004 and Richard's letters and Christa's pottery were displayed at the Collectors Gallery at the Oakland Museum of California in March and April 2005. The letters were discussed in a panel presentation at the 2005 NCECA Conference in Baltimore and are to be published in book form this October by Kestrel Books Ltd, Tythegston, Wales, United Kingdom. The working title for the book is "Searching For Beauty: A Collector's Letters To A Studio Potter".
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Scholars' Stoneware and King EpiCai's Effigies
ARTISTS: Geoffrey Tjakra and Douglas Blechner
DATES: May 12th - June 2nd
GALLERY RECEPTION: Saturday, May 12th, 6 - 8pm
ABOUT THE EXHIBITION
Xiem Gallery is proud to present Scholars' Stoneware and King EpiCai's Effigies, an enigmatic collection of ceramic works by CSULA MFA candidates Geoffrey Tjakra and Douglas Blechner.
Scholars' Stoneware, Blechner's collection of bulbous rock-like forms, is inspired by Chinese 'scholar's stones' and Japanese Suiseki. Suggestive of the contained energy of natural forms, these coil built pieces function as objects of contemplation. Their rich surfaces evidence Blechner's mastery of glaze chemistry and application techniques.
In contrast to Blechner's restrained focus, Tjakra employs a variety of materials, forming techniques and firing temperatures to explore and celebrate the unlimited potential of the ceramics medium. King EpiCai's Effigies, his abundant creation of ritualistic ceremonial utensils for his contemporary personal Kingdom of EpiCai, references archeological artifacts and sites, and poses questions about definitions and hierarchies of value in contemporary culture.
ABOUT THE ARTISTS
Douglas Blechner and Geoffrey Tjakra are current MFA graduate candidates at CSULA. Blechner began his study of ceramics in1988 at El Camino Community College and obtained his BFA in Ceramics in 1993 from CSULB. He worked as a potter and taught at various venues for more than 20 years before registering for his MFA.
Tjakra, (a.k.a. King EpiCai), is a multi-media artist, born in Jakarta, Indonesia. He has lived and studied in many different countries, receiving his BFA in Sculpture in 1994 from Rutgers University, New Jersey. After taking his first official ceramics class with Prof. Neil Moss in 2000, working with clay became an obsession for Tjakra, leading to his near completion of the MFA degree in June 2007. Douglas Blechner and Geoffrey Tjakra are both currently mentored by Prof. Luis Bermudez at CSULA. Both also credit the significant role Prof. Neil Moss has played in their education and development.
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Kevin Myers: Decadence and the Imperial 
EXHIBITION: Decadence and the Imperial
ARTIST: Kevin A. Myers
DATES: April 7th - May 5th
GALLERY RECEPTION: Saturday, April 7th; 6 - 8pm
Gallery Hours: Tuesday - Friday: 10am - 6pm; Saturday: 10am - 5pm
Xiem Clay Center is proud to present Decadence and the Imperial, featuring ceramic works by Kevin A. Myers. In this selection, the artist contrasts the opulence of gold with the quietude of celadon in a series of small scale wheel thrown and altered forms, inspired by recent travels in Eastern Europe.
ABOUT THE EXHIBITION
All that glitters is certainly not gold, especially in the field of ceramics. Historically, clay has been used to mimic a wide range of materials - from basketry to bronze and cameos to cauliflower. But mimesis becomes cultural critique in Decadence and the Imperial - a new body of work by ceramic artist Kevin Myers.
Within a series of similarly wheel thrown and altered forms, Myers posits the rhetorical opposition of East/West taste and tradition by adorning half of the works with lustrous gold while the remaining pieces are treated with celadon glaze.
Typically associated with 18th century porcelain, gold luster evokes the decadence of pre-Revolutionary Europe; celadon - the austere, grey-green glaze perfected by the Chinese during the Song Dynasty to reference jade, implies the gravitas of the Chinese Imperial court. While both representations are recognized as culturally specific signifiers of wealth and worth, within the canon of studio pottery, celadon is viewed as noble and timeless while gold luster equals, well, glitz.
Decadence and the Imperial refutes such expectations with its delicate yet powerful juxtapositions. Eschewing discourse in pursuit of beauty, Myers embraces technological and semiotic contradictions, courageously deconstructing even his own predilections.
ARTIST'S STATEMENT
Decadence and the Imperial is the result of a recent trip to Prague, Austria and Hungary; as well as an ongoing admiration for the Chinese celadon.
I spent a great deal of time in the cathedrals of Europe and was greatly affected by the spiritual decadence of gold. On the other hand, the quiet, transparent nature of a celadon glaze has a spirit all its own. The tactile versatility, permanence of material and historical value of clay are all reasons why I was inspired to create such a vastly different, yet obviously connected body of work.
ABOUT THE ARTIST
Kevin A. Myers has maintained a ceramic studio since 1975. He earned his BFA and MFA degrees from Otis College of Art and Design. His work can be found in many private collections throughout the country as well as internationally. Kevin is Associate Professor of Art, Ceramics at Orange Coast College in Costa Mesa, California, where he is currently serving as Chair of the Art Department. He has also taught at the University of Southern California, University of California Los Angeles and California State University Northridge. Kevin is well versed in all areas of ceramics and as artist and educator has contributed significantly to the development of West Coast ceramics.
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2006...
This Sensuous Earth
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Tomás Owen explores the sensuality and metaphor of clay skin on ceramic bodies in an exhibition of sculptures assembled from shapes thrown on the potters' wheel.
Xiem Gallery is proud to present this exhibition on the eve of Tomás Owen's departure for Mexico. Since his arrival in Los Angeles little more than two years ago, Tomás has captivated the attention of a wide audience with his masterly transformation of thrown elements into figurative forms. Opening October 28th and running through December 23rd, the show will be complemented by a selection of the artist's utilitarian and decorative pieces in Xiem Gallery's retail section.
EXHIBITION: This Sensuous Earth
ARTIST: Tomás Owen
DATES: October 28th - December 23rd, 2006
GALLERY RECEPTION: Saturday, October 28th; 6 - 8pm
ARTIST'S STATEMENT:
The work in this show is sculptural - an exploration of the human form; yet I approach my work through the techniques of a ceramist. My pieces begin as wheel thrown segments, that are then assembled and shaped. I often wonderwhere the beauty of a figure lies, what it is that makes a face attractive, or gives to a body its sensuous aura, improbable balance and grace. In this series I am seeking ripe grace, humor and sensuality, but the juice comes from the clay itself. Clay has a sensuous nature that seduces many. With clay, one must enter into a dialogue. I ask some things of the material and at other times I best let the material do what it will. My most important tools are my hands. But to sketch a mango you should look at the light on its skin, caress it and feel it's weight in your hand, smell it, and then peel the skin back and take a bite.
ABOUT THE ARTIST:
Tomás Owen studied and practiced architecture, but has also been involved in theatrical design and art direction for film and television. In the late 70's he began working with ceramics in Naolinco, Veracruz with Hal Babbitt. From 1985 until 1993 he worked with Gustavo Pérez and then set up his own shop with a wood fired kiln in Xalapa. In 2005 he set up a studio in Los Angeles.
His work is defined by the technical demands of ceramic materials and the need to find a balance between graceful form, texture, and colors. Most of his pieces are thrown on a wheel, altered, assembled, and fired to cone 6 (2,212 F). As of late Tomas has been most attracted to figurative pieces and the decorative possibilities of bowls. Commenting on this fascination, the artist states:
"In Mexico there is a very strong heritage of pre-Columbian ceramics that cannot be ignored; it has been a strong influence on my work. Whether a utilitarian or a purely ornamental piece, the path to beauty -- with this sensuous earth --wanders to infinity."
Tomás Owen has exhibited extensively in Mexico and the United States
TOMÁS OWEN
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September 2nd - October 21st, 2006
Tom and Elaine Coleman at Xiem Gallery
Covering The Surface
ABOUT THE EXHIBITION: The action verb in the show's title expresses the positive energy that continues to characterize the collaborative and individual achievements of two committed artists who have been creating with clay for almost 40 years.
"The Colemans" is virtually a name-brand within the American ceramics fraternity - not only as a result of Tom's success in the development and marketing of clays and glazes, or the fact that the work of Tom and Elaine Coleman is so widely exposed via exhibitions, publications and workshops, but also because their collaborative partnership and determination to overcome obstacles in the struggle to live out the dream of so many ceramics students in the 70's - namely to make a living out of their love of ceramics, was immortalized in "The Mud Pie Dilemma", by John Nance, in 1977.
Today, almost 30 years on, Tom and Elaine have collectively explored almost every career option available to ceramics practitioners. In theprocess, they have reached that extraordinary level of skill where making becomes as natural a part of life as breathing. And their dynamic collaboration has strengthened to the point where Tom's pots have evolved into the vehicle through which both artists explore themes of color and texture.
As a couple, the Colemans appear to maintain what appears to be a perfect balance of complementary opposites; and the best way to see their work is in combination. While Tom's richly textured colors and surfaces accurately reflect his passion for the visual landscape of their desert home in Nevada, Elaine is widely acclaimed for pieceswhich reflect the reverse pre-occupation of people who daily experience an arid environment:- perhaps the easiest way to describe her effects is "watery". Working solely on porcelain pieces made by Tom, Elaine uses intricate carving and celadon hued glazes to create languid representations of fauna and foliage which both extend and interrogate the actual contours of the pot.
Tom and Elaine's work is included in numerous public, private, corporate, and museum collections.
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Under the Influence April 22 - June24
New works by Paul Soldner and James Coquia
Gallery Reception: Saturday, April 22; 6 - 8 pm
Gallery Hours: Tuesday to Saturday; !0am - 6pm
ABOUT THE EXHIBITION:
The title of this exhibition - conceived by Kirk Delman, curator of the Marer Collection at Scripps College and a close friend of both artists, salutes and satirizes their relationship.
Paul Soldner's mid- 20th century re-defininition of the aesthetics, philosophy and technology of ceramics is well known and continues to inspire countless ceramic practitioners. Yet notwithstanding his seminal stature, Soldner consistently credits "my guru, Pete" Voulkos with kick-starting and fuelling his extraordinary career.
Since 1999 the production and firing of many of Soldner's pieces has been facilitated by the assistance of James Coquia, his junior by 51 years. A talented artist in his own right, James cites his involvement with Soldner as sparking new conceptual and technical initiatives in his own creative development.
Xiem Gallery is proud to present UNDER THE INFLUENCE - new ceramic works by two artists side-stepping the 'anxiety of influence' to acknowledge origin as the root of originality.
ABOUT THE ARTISTS:
Paul Soldner (b.1921)
Arguably one of the most significant figures in ceramic art of the 20th-century, Paul Soldner is internationally recognized as both innovator and inventor. As well known for his pioneering development of American raku and low-temperature salt firing as he is for his ingeniously designed and promoted range of ceramic equipment, Soldner was seminal in the foundation of the National Council for Education in Cermic Art, the development of Anderson Ranch and the institution of the prestigous Scripps Ceramics Annual. During his 37-year tenure, Soldner created an exciting alternative to traditional ceramics programs at Scripps College, Claremont. His presence at the College attracted to Scripps not only hundreds of talented students but also the important gift of the Marer Collection of contemporary American ceramics.
Soldner retired from formal teaching in 1991, simultaneously expanding the scope of his influence by extending his commitment to workshop presentations and exhibitions.
James Coquia (b.1972)
On completion of formal ceramics studies, James committed himself to mastering the practical dynamics of kiln building and wood-firing. His association with Paul Soldner dates from 1999 - while on the staff of Woodstoke, he assisted in firing the work of a number of eminent ceramic artists including Peter Voulkos, Soldner and Rudy Autio.
Coquia's aesthetic range continues to develop in tandem with his technical expertise through numerous positions as studio assistant, ceramic instructor, lab technician, and kiln constructor.
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Made by Heart, Defined by Desire
December 3, 2005 - February 18, 2006
24 Ceramic Artists Explore Gifts and Giving
Biliana Popova, Cheryl Ann Thomas, Chris Cook, Gere Kavanaugh, ngrid Lilligren, Jean Kojima, Jennifer Joyce, John Hopkins, Joy Hought, Julianna Balogh, Junzo Mori, Kevin Myers, Kevin Nguyen, Maria White Mebane, Michael and Magdalebna Frimkess, Pam Theis, Richard McColl, Ricky Maldonado, Sierra Pecheur, Steven Horn, Vincent Suez.
Curator: Suzette Munnik |
