“Perceive Me” by Kristine Schomaker

Ronald H Silverman Fine Arts Gallery, Cal State University LA
5151 State University Drive
Los Angeles CA 90032
Dr. Mika Cho, Director, Fine Arts Gallery

Opening Reception: Saturday January 25, 5-8pm

Artist Talk with Alexandra Grant Sun February 2, 2-4pm
Artist Talk with Leslie Labowitz-Starus Sun February 16, 2-4pm
Artist Panel and Closing Reception Sat February 22, 2-4pm
Instagram: @kristineschomaker

In “Perceive Me,” plus-size artist Kristine Schomaker challenges society, the art world and herself to become more accepting of our differences, especially differences in size. She issued the challenge here in Los Angeles – a city known for its unrealistic images of the female body – by asking 60 artists to do nude portraits of her larger-than-average form. Rather than shaming Schomaker for her size, the artists celebrate it with paintings, drawings, photographs, sculptures, video and a 3D print.

Los Angeles artist Sheli Silverio responded with a 57-inch-tall watercolor painting. “Kristine invited me to be part of her “Perceive Me” project in which I got to use my lens to interpret her; Her body, her authenticity, her power, her femininity, her bravery, HER. In the process of doing so, I took the opportunity to explore myself. It’s been good for my heart. I think part of understanding ourselves, happens in relation to the world around us. But we also know that the social standards are in need of critique more often than not. The way “Perceive Me” reflects and shifts the idea of perception of self allows for this criticism. It opens space for everyone involved, artists and viewers, to reflect upon how they see themselves, how they look at others and what weight and significance we place on all of that.”

Schomaker’s work has often touched upon perceptions of the female body, an issue that has been a challenge for her since her youth. She hated having her photo taken because she didn’t want her body and face, which she saw as less-than-ideal, being memorialized in photos. She developed an eating disorder, but she never lost sight of the need to express herself in her art.
And with “Perceive Me,” the artist, curator, and instigator found a way to celebrate herself in addition to educating the larger world about acceptance.

“Posing and modeling for these 60 artists, I felt like a supermodel. I felt thin, bold, beautiful, classy, elegant, sexy,” she said. “The artwork that was created is amazing. Then I looked in the mirror… I was the same. But I knew I was saying something that needed to be said.”

“Perceive Me” opens with an exhibition at California State University, Los Angeles Jan. 25, 2020. The opening reception is Jan. 25, 2020 6-9pm. The show runs through Feb. 22, 2020.

Over the next couple of years, “Perceive Me” will travel to Coastline Community College Art Gallery, McNish Gallery at Oxnard College, Mesa Community College Art Gallery, College of the Sequoias in Visalia and the Museum of Art and History in Lancaster.

“‘Perceive Me’ is not just an exhibition or a catalog or Instagram posts. It is a platform for empowerment, for owning who we are, for being unique and authentic, for taking back our bodies in the #metoo movement, for being true, powerful and strong no matter what body shape, size, color, gender we are. ‘Perceive Me’ is for everyone,” Schomaker said.

Artists who collaborated in the project include Amanda Mears, Anna Kostanian, Anna Stump, Ashley Bravin, Austin Young, Baha Danesh, Betzi Stein, Bibi Davidson, Bradford J Salamon, Caron G Rand, Carson Grubaugh, Catherine Ruane, Chris Blevins-Morrison, Christina Ramos, Cynda Valle, Daena Title, Daggi Wallace, Dani Dodge, Debbie Korbel, Debby and Larry Kline, Debe Arlook, Diane Cockerill, Donna Bates, Elizabeth Tobias, Ellen Friedlander, Emily Wiseman, Geneva Costa, Holly Boruck, J Michael Walker, Jane Szabo, Janet Milhomme, Jeffrey Sklan, Jesse Standlea, John Waiblinger, Jorin Bossen, K Ryan Henisey, Karen Hochman Brown, Kate Hoffman, Kate Kelton, Kate Savage, Katherine Rohrbacher, Kerri Sabine-Wolf, Kim Kimbro, L Aviva Diamond, Leslie Lanxinger, Mara Zaslove, Marjorie Salvaterra, Martin Cox, Monica Sandoval, Nancy Kay Turner, Nurit Avesar, Phung Huynh, Rakeem Cunningham, Serena Potter, Sheli Silverio, Susan Amorde, Susan T. Kurland, Sydney Walters, Tanya Ragir, Tony Pinto, Vicki Walsh

About Kristine Schomaker:
Kristine Schomaker is a Los Angeles based multidisciplinary artist, art historian and curator. She received her BA in Art History and an MA in Studio Art from California State University Northridge. Schomaker has been exhibiting her work since the late 1990s. She has had solo exhibitions throughout Los Angeles including “Plus” at Ark Gallery in Altadena, “Mirror, Mirror!” at Gallery H Phantom Galleries LA, Hawthorne, California, “And One Man in His Time Plays Many Parts” at the Los Angeles Art Association, “Plus” at Moorpark College Art Gallery, “A Comfortable Skin,” at Kerckhoff Hall Art Gallery UCLA, Los Angeles, California and “Ce n’est pas une Peinture,” at TRACTIONARTS, Los Angeles, California. Schomaker has also been featured in numerous group exhibitions.

In addition to working as a practicing artist, Schomaker is an independent curator, the founder of Shoebox PR and publisher of the online contemporary art magazine Art and Cake.

Jen Snoeyink | Hope Trees
Solo Exhibition

Opening December 14, 3-5pm
On view December 14 to January 2, 2020
By appointment only

Geo Gallery
1545 Victory Blvd
Glendale CA 91207


Jen Snoeyink presents “Hope Trees,” an inspiring, richly immersive exhibition first conceptualized during the La Tuna Fire, which occurred near her own home. Snoeyink took fallen branches from drought-stricken trees wrapped in recycled yarn and fabric, and stood the branches on end as a symbol of hope for those affected by the devastating fires, and as a reminder that life will sustain and continue after devastation.

The artist says she sought to viscerally express the idea that “Nature’s strength is unbounded.” The fiber wrappings are lushly colored, patterned and designed with precision and grace. Standing like vibrant, poised dancers, the branches of Snoeyink’s wrapped trees rise as a counterpoint to an ashen landscape. She uses fiber as a painter’s palette, artistically articulating the form of a tree, and documenting nature’s poetic response to fire. By enveloping branches in what she calls a “makeshift blanket of repurposed textiles,” Snoeyink incorporates fiber art, assemblage, photography, and mixed media as an artistic expression of the environmental issue of wildfire, both in California, and elsewhere.

Snoeyink worked with Nature photographer Kerry Perkins to document the site-specific installations Snoeyink created in the Woolsey fire affected areas last February. These photographs, the trees and an installation will be on view in Snoeyink’s exhibition.

In August, Snoeyink created Hope Trees as a temporary installation for Burbank Schools. Since that time, she has wrapped Hope Trees for residents affected by the Saddle Ridge Fire. The artist’s vividly colorful, softly wrapped images of life rising from the ashes create a rainbow of light against darkened land. Snoeyink had started the project a few years ago when she had created yarn trees as a project with Thomas Jefferson Elementary School students; She has been “overwhelmed” by the support to create something new and beautiful through the fiber art experience, adding color and life to the trees.

Describing herself as an “arborist, optimist, and mindful maker,” Snoeyink shapes temporary art installations as tactile emotional responses to both social and environmental issues, with the intention of lifting viewers’ spirits and raising awareness.

About Jen Snoeyink

A multi-talented design professional, Snoeyink has worked in a wide range of creative fields from New York to Los Angeles. With a solid basis in design, she has created works in decorative painting, murals, and scenic art, and has most recently expressed her art through handmade fiber art and fine art paintings. Working in fiber, Snoeyink shapes art that includes felting, painted linen, silk, and lace flowers, as well as building evocative assemblages that include both recycled objects and woven fiber materials.

She shares her creativity with her community through public projects engaging both children and adults. She holds an MFA in Scenic Design from the University of Michigan, Ann Arbor.

Karin Skiba


Solo Exhibition
November 2-24, 2019
Opening reception November 2, 5-7 pm

29 Palms Art Gallery
74055 Cottonwood Dr
Twentynine Palms, CA 92277

Science tells us that our connections are one of the most important factors in a long healthy life. Connection to home is the subject of Los Angeles artist Karin Skiba’s solo show, Habitat, opening at 29 Palms Art Gallery on November 2.

Skiba’s past work often involved emotional and physical environments in visual form. The theme of Habitat arises from this connection. The gallery space itself represents “habitat” in a true desert way, says Skiba. She admires the adobe building built to shelter from the heat and sun in 1936. As an art gallery this home now offers relief in the form of art.

Born and raised in Detroit, Skiba says the architecture of that city evokes the comfort zone of her youth and experiences there.

“I always loved downtown Detroit,” she says, “taking the bus to Woolworth’s as a teen to buy lunch with my girlfriends. Or eating at the old diners during my art school days. The stately grand homes and churches in the downtown area are familiar and beautiful to me still and prompted me to photograph them many times.”

Those photographs in collages capture the comfort of the past and childhood memories. It connects with her ancestors who came from Europe to find a new life and draws a line to the new and revitalized future for the city. Skiba calls this an “ecofictional landscape” where photos evoke a visual reality into a painted picture plane.

The work in Habitat uses ladders and trees that reach to the future and to the roots of the past, leading to emotional environments that offer solace and safety. An escape, sometimes reminding us of places we left behind in a search for our home. Or they can be unreachable because of situations we find our society in.

Karin Skiba (Russo) attended the Center for Creative Studies in Detroit and Claremont Graduate University receiving her MFA. Her work was shown at Barnsdall Park Art Center, LACMA, Security Pacific and in galleries in LA, Oregon, Chicago and Detroit. Her includes solo exhibitions at La Verne University, Cal Poly Pomona, Joshua Tree Art Gallery as well as the Riverside Art Museum.

Habitat runs November 2-24, at 29 Palms Art Gallery with an opening reception on November 2, 5-7 pm.

Solo installation by Pam Douglas


September 24 – October 19, 2019
Opening reception Sat., Sept. 28 5-8pm

TAG Gallery
5458 Wilshire Blvd,
Los Angeles, CA 90036

Sanctuary an Installation by Pam Douglas Avows the Humanity of Refugees

Entering TAG Gallery, a visitor is immersed in life-size drawings of refugees walking behind a chain link fence and children trapped behind ropes. The 60-foot installation makes the viewer a witness to the refugee journey. This is the debut of Sanctuary, a multi-year project by Los Angeles artist Pam Douglas. The exhibit will be on view from Sept. 24 through October 19 with a reception on Saturday, September 28 from 5 to 8 pm.

Douglas explains her very personal response: “We are in a startling time hearing the cries of children torn from their parents at the American border. Beyond this country, refugees are seeking sanctuary around the world. This work is a visceral response to their humanity.”

Douglas observes that refugees are rejected as if they’re unwanted commodities and says the battered coffee bean bags used throughout the installation serve as a texture and a metaphor for them.

She chose a limited palette – charcoal and chalk on natural linen and tan burlap — to focus on the struggle and the beauty of the faces. The monochromatic “quote” also suggests newspaper imagery at a time when immigration is in the news, though none of these figures are actually from newspapers. Materials include: raw canvas, charcoal, pastel, clay, rope, sticks, acrylic, toys, a chain link fence, and the ubiquitous coffee bean bags.

On the floor, on a pile of the coffee bean bags, discarded shoes are strewn — men’s, women’s, and shiny pink ones from a little girl who we might imagine dressed as nicely as she could to arrive at her new home. The shoes left behind echo the European Holocaust and those who tried to escape on the Underground Railroad and the many walking to what they believed would be their salvation throughout history.

Part One of Sanctuary is travel by land. Part Two now in development will be travel by sea, installed in 2020. Part Three in 2021 will be the camps.

The spirit of Sanctuary echoes work by Ai Weiwei, JR and contemporary artists of Mexican heritage. Simultaneously, Douglas is curating Arrivals, an exhibit of work in a separate space within TAG featuring three artists with roots in other countries: Narsiso Martinez, Fabian Debora and Ching Ching Chen. Their opening reception will be at the same time on Sept. 28.

The Sanctuary exhibit catalog available at the reception raises funds for UNICEF.

About Pam Douglas

Los Angeles artist Pam Douglas has been well reviewed in shows including a large installation in the California African American Museum and at the Los Angeles County Museum of Art. Her work was featured at the Los Angeles Art Show at the Convention Center, January 2019 by the Los Angeles Art Association.

Karen Hochman Brown
A solo exhibition
Vexilla Florum

September 14 – October 19
Opening reception September 14, 6-9pm

Los Angeles Art Association | Gallery 825
825 N La Cienega Blvd,
Los Angeles, CA 90069

In a nod to the peaceful work of women, Los Angeles artist Karen Hochman Brown’s solo exhibition, Vexilla Florum, at LAAA is a mixed-media and multi-media presentation incorporating diverse processes such as handcrafting and digital photo-manipulation. The opening reception will be held on September 14 from 6-9pm at the Los Angeles Art Association.

A vexillum is a flag and, as something that can be seen from far away, it was an early form of communication, a way to direct troops or identify a faction. Vexilla are a relic of war. Hochman Brown has created vexilla standards using floral motifs that pay homage to the flower children of the sixties, who promoted their power through gentle acts. The pieces are a remembrance of the women who constructed the flags of war while maintaining peace at home.

Hochman Brown’s creative process uses photographic images of nature and transforms them into kaleidoscopic creations of uncanny realism. In Vexilla Florum, the digital artwork is constructed from photographs of flowers from around the world. The main motif is a distorted and reflected multi-layered meditation on each subject flower.

Hochman Brown uses the computer throughout the artistic process, employing a variety of specialized software to create the main imagery, construct animations, and designing the intricate laser-cut headpiece. She has control over the whole process, using a Glowforge laser printer to make the wood cuts, hand-sewing the banners and assembling the pieces.

Vexilla Florum runs September 14 – October 19 at Los Angeles Art Association | Gallery 825, 825 N La Cienega Blvd, Los Angeles. The opening reception is September 14, 6-9pm.

About Karen Hochman Brown
Karen Hochman Brown found her passion for art in her early primary school years. In high school she discovered geometry and did not hesitate to fuse mathematics with her artwork, exploring intersecting circles and patterns. To the artist, there was a distinct and immediate marriage of mathematical precision and aesthetic beauty. After she received her B.A. in Art from Pitzer College, she continued to study math, and did post-graduate work at California College of the Arts and Crafts where her Master’s thesis introduced Construction Geometry via Art, a Junior High School curriculum she taught at Pasadena Waldorf School. She continued to study the interconnections of math and art via technology at UCLA, studying graphic design in the late nineties. Her work has been widely exhibited in California and the United States.


A two-person show with Samuelle Richardson and Joy Ray

Curated by Andi Campognone

September 7-28, 2019
Opening reception, Sept 7, 6-9pm
Artist Talk moderated by Andi Campognone Sept 28, 4-5pm

170 S. La Brea Ave.,
Los Angeles, CA 90036

(Los Angeles) –Beyond/Within, a two-person exhibition featuring the sculptures of Samuelle Richardson and the textile paintings of Joy Ray, opens Saturday, September 7 at LAUNCH LA. Curated by Andi Campognone, Beyond/Within explores the influence of seen and unseen forces in contemporary society, raising questions of power, control and belief.

Both artists use textiles to create a contemporary narrative that is less feminist than it is radical craft. With paint and needle, the works in this show are familiar but unexpected, subversive in their relationship with textile arts.

Samuelle Richardson’s sculptures portray lesser beings that confront larger adversaries. She emphasizes handmade quality in her structures, pairing rough wood with the crush and pull of fabric, and embraces flaws in the materials. While her works are based in true anatomy, she favors believability over realism.

Joy Ray’s “Post-apocalyptic Petroglyphs” evoke artifacts from a mysterious, vanished civilization. Her textile paintings grapple with the tantalizingly unknowable: secret codes, sinister conspiracies, dark rituals, the occult.

The artists complement each other with their mutual interest in textiles as sculptural materials, with nods to Arte Povera, radical crafting and mid-century minimalism, defying and transcending art-vs-craft paradigms.

Beyond/Within at LAUNCH LA, September 7 through 28, opening reception September 7th.

About Joy Ray
Joy Ray received her BA from Sarah Lawrence College and studied art history in Italy. Ray’s work is defined by a bold, minimalist palette and richly textured materials including twine, wool, sand and plaster. She lives and works on the Big Island of Hawaii and exhibits her work nationally. This is Joy Ray’s first major exhibition in her long-time former home of Los Angeles.

About Samuelle Richardson
Samuelle Richardson’s exhibitions this year include a solo at MOAH Lancaster, and group shows at MOAH Lancaster and Palo Alto Art Center. In October she will complete a residency at Hambidge Center for the Creative Arts and Sciences, where she has been awarded the Rogers Fellowship. Samuelle Richardson lives and works at The Brewery Artist Lofts in Los Angeles.

About Andi Campognone
Andi Campognone has over 30 years of arts experience in Southern California and beyond. Through AC Projects Inc., she focuses on promoting arts and culture, developing museum exhibitions, public engagement, mentoring programs and book and film publications. Campognone is also the Museum Manager/Curator for the City of Lancaster and serves on the Board of the Lancaster Museum and Public Art Foundation and the advisory boards of Start Up Art Fair Los Angeles and Los Angeles Arts Association. She is a member of ArtTable.

For more information or to arrange an interview, please contact:
Kristine Schomaker
Director Shoebox PR


Joy Ray


Samuelle Richardson

Linda Sue Price
“Light in Motion”

Solo Exhibition

Reception July 13, 5-8pm
On view Tuesday, July 9 -­ Saturday, August 3

TAG Gallery
5458 Wilshire Blvd, Los Angeles, CA 90036

Through the use of animating neon tubes, Light in Motion explores the tension between an internal desire for peace and tranquility as contrasted with the external reality of change and chaos.

There are two series shown here—Focus and Chaos. In the Focus pieces the neon animates in a slow movements that are almost musical. In contrast the Chaos work animates wildly and energetically.

The spiral shape used in the Focus pieces historically represents expanding awareness. The chosen colors and gentle animation were designed to illustrate the practice of yoga; and the enlightenment found there.

In the Chaos work, it’s all about disruption from politics to nature. All the pieces in this series are designed to animate wildly. In Flood, there is a sense of surging water, in Fire—a crackling fire. The Lies pieces suggest the motions and energy of mockery.

This is the world we live in. We seek peace while being battered by chaos.

About Linda Sue Price:
“I like to mix form, light, reflection and texture. I do this by layering and adding other elements such as clear acrylic rods and reflective backgrounds. While the viewer cannot know the simple and sometimes complex stories behind each piece, they can reconsider their perceptions of neon and the world around them. When I look at a neon tube, I don’t see a sign even if it is. I see a luminous glow. I want to share the beauty and playfulness of neon.” Linda Sue Price

I have been looking at and admiring neon since I was a child living and traveling through the western states. The intense colors and glow of the motel and business signs appealed to me and I thought they were beautiful. A visit to Las Vegas was always special because of extensive use of neon all over the buildings. There was a palm tree in front of one of casinos that I loved. In Southern California, there were special signs that I looked forward to seeing. Long Beach had a drive-in theatre near the traffic circle that had wonderful neon. Motel signs often had animation. I liked to look at them and try to figure out the animation patterns.

I started working with neon as an art media in 2004. I took a neon class through the Museum of Neon Art taught by Michael Flechtner. I wanted to explore a free form style and he encouraged me to try bending. I began studying the craft of bending with Flechtner in 2005.

Installation shots courtesy of TAG Gallery