Four Times the Art at Gabba Gallery

Now through January 27th at Gabba Gallery, four strong solo shows in a range of mediums offer a bold beginning to the new year.
With Give and Take, Cyrus Howlett offers a bright, vivid palette of red, yellow, and aqua against raw and uncoated wood. His images are of hands.
Powerful, graceful hands are enigmatically suspended in an undefined space, offering images that have overtones of AI and VR and reveal the potential for understanding through gesture.
With Evolution, Dytch66’s lush, hyper-realistic style is a beautiful outgrowth of his street art. The LA-based artist uses spray paint to create these detailed images, shaping resonant, graceful works with amazing precision.
Above, Dytch66’s “The King.”
Spacegoth creates a world here inhabited by playful devils and those humans who have left this mortal plane. There is a sense of the ominous and the playful coexisting side by side in these works, which at times feature words as well as images. In short, she’s filling The Void. 
Some images emerge from that void with a delightful sharp touch of the whimsical, as below, with “Nobody.”
Other images, such as the above “I Spent a lot of time in the background,” have a darker resonance.
With ARTSTAR, Kate Kelton uses acrylics on found and assembled woods, in an exploration of immortality and stardom.

Her gorgeous black and white works have a throwback quality, as if they were created in another time or another realm. Beautifully evocative, her work is both romantic and fully alive, a celebration of the past and the promise of eternity.

The uniqueness of each artist’s work gives Gabba a strong start to 2018, with four fully-realized solo shows all in one fun space.

  • Genie Davis; photos provided by Gabba Gallery

Escape from the Usual Scene at Scapes



Now at the new gallery and event space Unita in El Segundo through January 27th, the beautiful work of stellar photographers offers an eye-opening view into a fresh new world of landscape images.


SCAPES, curated by Hayley Marie Colston and Moshe Levis from NOTINDOOR Photography magazine, features the work of photographic artists Ryan Meichtry, Diane Cockerill, Osceola Refetoff, and Chris Pelonis along with additional works from NOTINDOOR contributors.

Each photographers work is unique as to approach and subject matter.


Refetoff’s Desertscapes curation is haunting and poignant, raw and vivid; his images of clouds, sky, and road pull the viewer into travels of their own. A series of photographs taken over the wing of airplanes is both transcendent and triumphant.


Cockerill offers rich Cityscapes, with urban skylines, intimate views of architecture, street scenes – a collection that gives viewers a fresh, loving, and visceral look at Los Angeles that is both sophisticated and warm.


Pelonis’ rich and varied Landscapes takes viewers intimately on an international journey; Meichtry’s Seascapes are wild and evocative, revealing the sinuous curves of awe-inspiring waves and sleek water. Meichtry’s short film, The Perilous Sea, which screened at the opening of the show, offered intense views of surfing off the coasts of Nova Scotia, the Hebrides, and Ireland.


At the closing reception, planned for January 27th from 6 to 11 p.m., an additional exhibition will include the work of both curators inside Colston’s Gypsy Trails Gallery, a portable space to be parked behind Unita.


Colston explains that she has been invited by Unita to be a resident curator. “As an artist, I find curating to be an additional and different outlet.  Photography allows me to capture life’s passing moments and painting, to capture the passing thoughts in my mind. Curating a show is a newer form of art for me and I’m enjoying the process of connecting or colliding the themes of different artists’ works.”


Choosing a photographic exhibit for her opening salvo at Unita was an easy choice. “I wanted to do a photography show to reconnect to where I started as an artist, and the photographers selected consistently inspire me. Each photographer selected for the show has their own style and concentrated theme, so I wanted to find a way to tell a story through them.”

Colston describes that story as “… the evolution of scenery. Starting with pristine landscapes to humanity’s play with the world. I wanted a look at the harmony, growth and desertion of people and their environments. Landscapes without people, seascapes and how people interact and have to go with flow of the mighty oceans,” she relates. “I decided to include the Perilous Sea surf film to really emphasize this. I also wanted to include Cityscapes and how people have created their own scenes, and  Desertscapes to show the desertion of people and the lasting effects of their presence to the original landscapes.”


The wide-ranging exhibition offers ample space for each of the artists to present their work, and to draw viewers into a “whole new world.” Now that’s an escape, or SCAPES as the case may be.

Unita is located at 215 Arena St. in El Segundo.

Continuum is Just Getting Started: Monica Wyatt at MOAH Opens this Weekend


When Shadows Chase the Light (detail) _ Wyatt

Artist Monica Wyatt’s Continuum is a beautiful, dream-like show opening at MOAH: Cedar this Saturday. The exhibition, which runs through March 3rd, was curated by Jill Moniz. Wyatt calls Moniz an inspiring collaborator; much of the work here has been created specifically for the installation or never before exhibited.

“Jill encouraged me to be expansive and bold in my creating, all the while furthering the visual dialogue about lifecycles, sustainability, new beginnings,” Wyatt asserts. “Continuum is definitely an outgrowth of my previous work. One of the three spaces I’m using at MOAH: Cedar contains my first big site-specific installation.  I knew I wanted to push myself to work large scale and the making of this installation, called When Shadows Chase the Light ,was both thrilling and terrifying.  I’ve been creating it in segments over the last five months and never saw it as a whole until yesterday.  And it took seven of us to install,” she exclaims.


When Shadows Chase the Light contains 4000 acrylic globes, 10,000 nylon hairnets, 23 industrial light lenses, fishing wire and lighting, all manmade materials that “look like a huge and mesmerizing organic, biomorphic form,” according to Wyatt. “By using synthetic materials to represent the organic, I’m trying to represent the increasingly complex interconnections that bind people to nature and technology.”

Moniz calls Wyatt “an artistic alchemist, collecting materials and turning them into precious objects. In this process, she fuses the history of disparate materials to create new beginnings, representing the cyclic nature of all things.”

Terming Continuum Wyatt’s three-dimensional expression of love, death and creativity, Moniz notes that Wyatt pursues themes and compositions that  encompass her passion for her materials and the ways in which she infuses them with life and meaning.

Reworking materials, disassembling, and reimagining them, Wyatt uses both organic and manmade materials, creating a unique vision that connects man and nature.


“A couple years ago, I made a series of wood and rock assemblages called San Andreas Variations. With the indispensable help of Ron Therrio, I created five larger scale wood and granite rock sculptures that I’ll be unveiling, too,” Wyatt attests. 

She adds “A lot of my newer work has become more sculptural, no longer rooted in a box. Working towards this show has given me the space and mindset to play more purposefully with volume and large scale composition.  It’s not so much exploring the history of the objects in a different way, but visually expanding on themes that interest me such as the daily markers of family, nature, and life cycles.” Inspired by her father, a physicist-inventor, Wyatt strives to bring her imagination to life, reshaping different materials to create a piece with its own fresh identity.

“I’m using organ and piano pieces, marbles, beads, nails, wire, crystal orbs, acrylic globes, nylon hairnets, wood, and so much more.  I’m also transforming tens of thousands of capacitors into sculpture.  I’ve never worked before this show with acrylic globes and nylon hairnets, so that’s been an engrossing and fascinating challenge.”

HEAVIER THAN AIR (detail) _ Wyatt

Wyatt says “My assemblage is embedded with not only the histories of the materials, but also my own stories, and those of the viewer. I think my love for materials is the poetic element that’s apparent in my work. When the fragments and small bits come together as a seamless whole, there’s a sort of magic that happens and the piece becomes something more than the sum of its parts.”

Wyatt has a background as an English major, and her love of words is especially evident in the title of her works. “I never title a piece until it’s finished and really labor over finding a title that works.  And if I don’t mess it up too badly, a poetic object is matched with a fitting title.”

Falling Water _Wyatt

As to the title of the exhibition, Continuum is a perfect fit: according to the Cambridge dictionary, it is something that changes gradually in character or in slight stages without clear points of division. For Wyatt, mere objects become something magical, even mythical — art.

  • Genie Davis; photos provided by the artist







Kathryn Hart: Sculptural Art Work with Visual and Emotional Depth

Kathryn Hart art

Kathryn hart USE

Resilient. Hopeful. Poignant. And deep. Above all, deep. Kathryn Hart creates three-dimensional works that are as dimensional physically as they are emotionally – a look into the heart, soul, and spirit. The sculptural dimension to her paintings is an adjunct to her art, not a gimmick, but rather a way in which to delve even deeper into the essence of her work.

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Both the canyons and fissures of her art and the physical depth of her pigment create a sense of mystery, magic, and the poetic. Viewers searching for meaning, rummaging for spiritual sustenance, will find much to devour in Hart’s paintings.

The internationally award winning artist says “All of my works spawn from personal experience and express a multiplicity of emotions.  My prior series, Unapologetic Presence, dealt with the complexity of identity and explored its lasting components once the pressures from society, family, and personal experience are removed.  The series began after my mom died. I felt unstable. My role in the family morphed and my concept of my identity felt in flux,” she relates.

kathryn hart

That series, Hart notes, had a “rawness” born from her willingness to expose what she calls “the deep places about myself that I’d never had the courage or inclination to let others see. The series is about looking into the past, discarding the flotsam and coming out on the other side with a stronger and ‘unapologetic’ sense of identity. The emotional base of the work makes it accessible to everyone,” she attests, adding that the work also has a strong feminist basis. Using materials that are intentionally rough, unrefined, and unsophisticated, Hart created works in which the materials themselves were “honest and a metaphor for examining identity with an attitude of self-acceptance.”

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Hart’s current series is, she says, “about life, death, and hope. Hope is the critical factor in the human experience that gets us through the inevitable tragedies and pitfalls of life. Without hope, we die.”

The universal quality of Hart’s work begins with a personal impetus to create. She says that her new series was her outlet for handling her husband’s Stage IV cancer. It deals with mortality, fear, the fragility of life, the will to live, and the necessary hope to move forward and not be paralyzed.”

Hart says that the titles of the work hold a strong importance for her, and guided her in each work. Often, she explains, the title came first.

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“‘Thin Skinned,’ is about the appearance of fragility when the scaffolding is resilient.  Airiness, connections, threads, seeing through the top layer into the heart center are at the core of this piece,” she relates. “Other titles in this series include, ‘Dinner With Lazarus,’ ‘Pretending to be Fine,’ ‘Underneath,’ ‘Beast of Burden,’ and ‘CODA.’”

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In each work, there is an almost ethereal quality, a majestic sweep, that speaks of man’s frailty and strength, the yin and yang of life’s impermanence.

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Each of the works serve as hanging sculptures, but as the series progressed, artworks moved completely off the wall, as with “CODA,” shown in the two photographs above. Now, Hart is not merely invoking dimensionality, she is creating her own.

150801_Pretending to be Fine_87x72x12 inches_mixed media, wire, twine, steel, leather, resin and found objects

“The pieces intrude into the viewers’ space and force them to walk around it to take it all in. As in life, we must walk around to see the whole and take multiple perspectives,” she asserts. “Progression in life is not linear, but often a rat’s nest of connections which cannot be picked apart.”

150801_Pretending to be Fine_Detail 4 (1)

The surfaces of Hart’s work have shifted from raw to a dense, richly processed archeology in which the process of her work and the message she is offering through it are packed. She says that her materials are chosen to support her emotional message. “Slicing through the surface would reveal an iterative process of construction and deconstruction. The surfaces often shimmer with a mineralization, as if from the earth,” Hart explains. The viewer feels in some cases as if he or she were “mining” the surface and delving beneath it into something ancient, fecund, and replete.

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And speaking of materials, Hart says she began using mixed media and 3D materials when “I found I couldn’t express my intentions with a traditional 2D surface and paint,” she smiles.

The found objects that she’s incorporated into her work each have a personal significance to the artist, and are part of her history. Living adjacent to a national forest, she’s found deer bones, and uses an organic process to strip them.

“The bones become translucent and illuminated,” she reveals. “These found bones are a normal part of my life, my history. Bones are structural and the only evidence of life which lasts thousands of years. Rib bones surround and protect the heart. And these bones are beautiful, with elegant shapes and lines.”

It is not just the organic that Hart works with, however, as she incorporates other found items of meaning into her work, such as decades old barbed wire found hiking in the forest, and her husband’s empty syringes and pill bottles. Walking on railroad tracks she’s discovered rusted metal pieces of a train – “likely heading west with people filled with hope” aboard it.

Kathryn hart exhibition

A consummate visual storyteller, Hart creates to reflect the human condition, ultimately revealing both inner darkness and an inner light. Light and dark are both rooted within her sculptural depths, always to rise.

  • Genie Davis; photos provided by artist/photo of the artist herself, Genie Davis