Current Exhibitions

Modern Renegade | Renee Maderazo

Lionel Rombach Gallery

Living Dream

Living Dream

Adelante

Adelante

Vardøger

Vardøger

Dissociated Whisper

Dissociated Whisper

Bandana 95

Bandana 95

Gospel of Saint Petey

Gospel of Saint Petey

Sonoran Monolith

Sonoran Monolith

Strength

Strength

Death of an Amazon

Death of an Amazon

Inspire and Empower

Inspire and Empower

The Transhumanist

The Transhumanist

Y Factor

Y Factor

Trancendance

Trancendance

Los Angeles

Los Angeles

Age of Aquarius

Age of Aquarius

Promonade Altar

Promonade Altar

Bhoddisava of Sankofa

Bhoddisava of Sankofa

Book Art Pieces

Book Art Pieces

Trinity de la Cruz

Trinity de la Cruz

Modern Renegade: the Artwork of Renee Maderazo is a solo exhibition that highlights work created during COVID-19 quarantine. Without access to a formal art studio, Maderazo used an eclectic blend of drawing, painting, and collage, to fashion these mixed media paintings and book art assemblages. Emblematic of life’s uncertainties, these pieces feature chaotic compositions of vibrant color and copious layers of collaged ornamentation.These “portraits” are fantastical representations of herself and the things most meaningful to Maderazo’s identity. Ideas of spiritualism, cultural hybridity, gender exploration, sexuality, and psychological meditations are blended throughout each of her pieces. This thematic dialogue is best to understand her world view, as well as uncovering meaning while surviving life’s twists and turns.Renee Maderazo is a mixed media artist, illustrator, and muralist from Santa Ana, California.Throughout her academic career, Maderazo has had the pleasure of serving the Santa AnaCollege Mural Team, the Sienna Collective, and Gamma Rho Lambda National Sorority.

Alumni Exhibition: Kaitlyn Jo Smith and Marisa Lewon

Joseph Gross Gallery

Lights Out

Lights Out

Temporary Structures

Temporary Structures

Fixtures

Fixtures

Kaitlyn Jo Smith

American Standard, 2020

Manufacturing jobs began rapidly declining in the 1970’s with the collapse of the steel industry across Rust Belt states. Since then, factory workers have seen a steady decline in employment opportunities. More recently, 5 million U.S. manufacturing jobs have vanished since 2000; 4 million of these have disappeared as a direct result of automation. One of these jobs belonged to my father; this work is dedicated to him. American Standard is both an archeological and anthropological examination of the present that asks us to consider the implications of automation on society, more specifically, America’s working class.

I was raised by skilled laborers in a Rust Belt town in rural Ohio. When I was 13 years old, the facade of the American Dream crumbled before my eyes when the housing market crashed and nearly every adult I knew was instantly out of work. The Great Recession (2007-09) shuttered factories, turning a once bustling industrial region into a post-industrial wasteland. These modern-day American ruins have inspired me to share my family’s story. Over the past two years, my father and I have revisited the American Standard plant where he, and many of his brothers, once worked. In this landscape, we become the archaeologists of our collective histories through the excavation and preservation of once functional pottery (toilets).

American Standard replaces workers with machines to question the ethics surrounding the current state of labor practices in this country. By utilizing processes that have rendered the shift-worker nearly obsolete, including 3D scanning, 3D printing and machine learning, attention is drawn to the individuals that these processes replace. American Standard is a contemporary counter-monument honoring the working class through its use of deep fakes and non-functional utilitarian objects. It is through the installation’s ceaseless repetition that American Standard memorializes the digital age of mechanical reproduction.

 
Marisa Lewon

Temporary Structures, 2020

Temporary Structures is an amalgamation of sand, skin, self-understanding and time. Combining previous intuitive performance with interactive sculpture, I analyze my fragile relationship with unfamiliar landscapes. Having spent the first 25 years of my life oceanside, moving to the desert became both my inspiration and restraint. I use personal history to understand how the experience of where and how we are raised can alter reactions and perceptions of new landscapes as adults. Displacement and spaces that simultaneously provide comfort and discomfort are themes that serve as interruptions within this piece. While my immediate reactions are profoundly impacted by the varying landscapes I inhabit, the experiential residue of where I have been will never be washed away.

In this work, my perception of, and aversion to, ideas of home are echoed through exploration of personal memory. Utilizing the visual structure of a barnacle, I source the growth process of this creature to create a metaphor for human life. As “children” barnacles can freely swim about, much like a small fish or a tadpole. As they become mature, they create a calcified shell around themselves, remaining in one place until they eventually die, leaving behind just the shell as proof of their existence. There are many parallels that can be drawn between the life cycle of this small shellfish and humans. This fabricated mental reality that my work depicts represents a distinct binary between the desire to never settle and the need to find a place that feels secure.