Los Angeles based Jeff Iorillo works with a variety of media to create sculptural pieces that resonate in the subconscious of the viewer. Jeff has recently been in Black at The Loft at Liz’s. In April, he will be part of “Scranch”, a group happening in Twentynine Palms. Then, opening May 3, he will be in a three-person show at LA Artcore Brewery Annex.


Artist Statement
I’m a Los Angeles-based painter, sculptor and filmmaker working in acrylic, enamel and mixed media on canvas, masonite, and metal, as well as clay, plaster, sheet steel, and video.

I am essentially a process artist, inspired by the investigation of materials and methods. This ongoing process exploration leads to distinct bodies of work, whose consistent throughline is a bold abstract approach pushing mass and momentum, color and gesture. I’m interested in seizing the attention with an immediate impact, then holding it with a dynamic technique and details that encourage speculation.

I’m looking to create images and objects with a presence that feels substantial, inhabited. I’m less interested in communicating my own story than I am in providing a moment of contemplation that invites the viewer to create their own. I’m going for work that has a tone, a feeling specific to itself.

The work lives at the boundary between control and chaos: a specific, usually invented, technique pushed to its breaking point to achieve a spontaneity and unrestrained quality beyond my original intention.

Shoebox PR is proud to share the exciting work of our artists and their latest exhibitions. We are honored to work with a diverse group of contemporary artists whose work ranges through conceptual, narrative, surreal, technical, historical and scientific. You will find them poetic, heart wrenching, awe-inspiring and more. Our artists are collected; they have press histories, growing resumes and they are making things happen.

If you are planning an important and thought provoking exhibition, our artists may provide the impact you want. We are happy to arrange studio visits, interviews and articles with our growing list of emerging and mid-career artists.

Thank you so much for your continued support. We would love to hear from you.


Glenn Waggner’s latest body of work combines landscapes, architecture and figures in alternate worlds. His solo show, The Existential After Party, at Neutra Institute Gallery & Museum, opens March 31, with a reception 7–10 pm, until April 15.


Kathryn Hart is busy creating new work for her trip to New York in May where she will be showing at A.I.R. Gallery in Brooklyn and in a solo show at School of Visual Arts in Manhattan. Kathryn was recently written up in Diversions LA.


Catherine Ruane was showing in Feminism Now at Shoebox Projects and at Porch Gallery in the Thomas Fire Artists’ Recovery Exhibition earlier this month. She’s now at work preparing for an upcoming group show at Coagula Curatorial in June and for a solo show in September at West Valley College in Phoenix., AZ. Catherine was recently profiled by Gary Brewer in Art and Cake and her work was featured in the Drawing Issue of Artillery Magazine this spring.


Shoebox is pleased to welcome Frederika Roeder to our group. Frederika is a painter influenced by a passion for extreme sporting, as a surfer and skier. She is currently showing Naked As a Daisy exhibit at Shockboxx to March 25 and in Art in Place at Art Exchange until May 6. She will also be in StArt Up Art Fair San Francisco April 27-29.


Robert Nelson is gearing up for a busy 2018. Robert has work in “Bottle Rocket to the Future” at Lyceum Gallery presented by West Coast Drawing until April 15 and you can find Robert’s work in Art in a New Place, at Art Exchange in Long Beach until May 6. Coming up this year, Robert has two solo shows. From August 11 to September 30, Robert will be at MOAH Lancaster with new work and then, running October 20 to November 30, Robert’s Dialog with the Future series will be at LAAA/Gallery 825.


Scott Froschauer unveiled his The Word on The Street public art installation in Glendale on November 2. The installation is still open for visitors at sites throughout the city and was mentioned in LA Times and on ABC7. Scott’s Ten Principles will be on display at Playa Art Park, Reno, Nevada until May. He is currently working on a long term installation at Beyond the Lines Gallery and trying to be modest about his participatin in No Spectators: The Art of Burning Man in the Renwick Gallery at the Smithsonian Institute in Washington opening March 30.


Dani Dodge was snowed under in Ireland while on a residency at Cow House Studios. She created brilliant environmental works in the studio woods to honor the stormy weather.


Karen Hochman Brown is currently showing and demonstrating her process in “Botanic Geometry” at Crain Art Gallery in Crowell Public Library, San Marino. The show was reviewed by Kathy Zimmerer for Art and Cake. Coming up in April , Karen will be having a solo show at The Main Gallery in Santa Clarita. In May, she will be taking part in the LA Metro System’s “Through the Eyes of Artists” with posters on public transit throughout the city.


Douglas Tausik Ryder creates large scale sculptures that replicate the look and feel of traditional, crafted objects but are made with computer-aided technology. Douglas will be having a solo show of his large works at Jason Vass Gallery in October.

J Fredric

J. Fredric May is currently showing in a two-person show at Keck School of Medicine of USC until April 19th. He is preparing for a solo exhibition of “Apparition: Postcards from Eye See You” at Blue Sky Gallery in the Oregon Center for the Photographic Arts, April 5–29, in Portland, OR. He will also have work in Construction: A Group Show About Memory and Fabrication at Arena 1 Gallery, Santa Monica Art Studios opening April 21.


Steve Seleska has recently closed shows at Irvine Fine Arts Center, Shoebox Projects, Coagula Curatorial and the San Luis Obispo Museum of Arts. Steve is currently at work in his studio getting ready for future exhibitions.


Lauren Mendelsohn-Bass recently had work in Art in Place at Newberry Lofts, Long Beach and took part in Art Grind at the Mar Vista Artwalk. She is currently showing in Art in a New Place at Art Exchange just down the road. Next month, Lauren will be showing two pieces in Made in California opening April 21.


Cathy Immordino’s busy schedule continues with work in the Member’s Show at the Center for Fine Art Photography in Fort Collins, CO until April 7 and again in May. She is also part of a panel discussion at the Academy of Art University on May 2. Cathy’s photo, Leave Me Alone, has been accepted into Alluvian Spring 2018 Environmental Loss & Abandonment issue.


Jeff Iorillo has work in Black at The Loft at Liz’s until March 26. In April Jeff will be part of “Scranch”, a group happening in Twentynine Palms. Then, opening May 3, he will be in a three-person show at LA Artcore Brewery Annex.


After a number of shows in early March, Chenhung Chen is in the studio preparing for the StArt Up Art Fair in San Francisco opening April 27 and for Studio Systems IIat Torrance Art Museum in June. Chen is delighted to have been chosen as one of the artists exhibiting at LAX – Los Angeles International Airport in their upcoming program. More details to come.


J.J. L’Heureux continues her busy schedule of showings in 2018. “Faces from the Southern Ocean” is on view at the Houston Museum of Natural Science until April. She also has work in “Art Speaks! Lend Your Voice” presented by the National Women’s Caucus for Art at Arena 1 Gallery in Santa Monica. Her show, 17 Expeditions: Antarctica continues at Moorpark College Art Gallery, until April 2.


Samuelle Richardson has had a number of shows in March, at LAAA/Gallery 825, in Art Speaks! Lend Your Voice and in Feminism Now. After seeking inspiration in Europe recently, she is preparing to be part of Studio Systems II at TAM in June and in a juried exhibition at the Los Angeles Municipal Art Gallery opening July 22.

John Waiblinger

John Waiblinger is busy in the studio preparing for upcoming shows in 2018. He currently has work on display locally in Journey at Cerritos College Art Gallery, March 19-23.


Erika Lizee recently had work in Art Palm Springs and in Feminism Now at Shoebox Projects. Erika is currently showing in Women on the Rise, 2018 at Vita Art Center until March 31.


Randi Matushevitz opened her solo show, Conundrum, at LAAA on March 17. It runs through April 20. She is also looking forward to taking part in A Feminist Perspective 4.0 presented by We Choose Art at Montalban Gallery, opening March 23.


Pam Douglas has recently closed shows at The Ebell of Los Angeles (with Women Painters West)  and Points of View at Muzeumm. She is busy preparing for a solo show at TAG in September.


Bibi Davidson is currently showing La Luzapalooza at La Luz de Jesus gallery until April 1. Later this month, you can find Bibi’s work in A Feminist Perspective 4.0presented by We Choose Art at Montalban Gallery, opening March 23.


Linda Sue Price will continue in She Bends: Women in Neon when it opens at The Midway Arts Complex in San Francisco on March 24. While at MONA in Glendale, the show was reviewed in Art and Cake. Locally, Linda has work in Art + Science + Craft IV at the Fine Arts Building in Los Angeles through April 8 and in Art in a New Place at Art Exchange in Long Beach through May 6.


Susan Amorde has recently shown in Feminism Now at Shoebox Projects and in “Points of View” at Muzeumm. She is currently at work in the studio on new projects.




Kathryn Hart recently had work showing in Trappings at LAAA/Gallery 825 and will be in Huddle 2 at Shoebox Projects opening March 17. Kathryn is looking forward to a trip to New York in May where she will be showing at A.I.R. Gallery in Brooklyn and in a solo show at School of Visual Arts in Manhattan. Kathryn was recently written up in Diversions LA.

Thin Skinned by Kathryn Hart
Thin Skinned by Kathryn Hart

Artist Statement
I am a multi-disciplinary artist whose art reflects the human condition — all of its crags, crevices, revelations and secrets — and a belief in an endless ability to rise from the ashes. Mixed media artworks are rooted in personal history and plumb the depths of an inner darkness and an inner light. In essence, the work is about life, death, and hope.

Current artwork delves into identity and the lasting core which survives the white noise from society, family and personal experience. Newest are multi-part, ‘flexible,’ hanging sculptures using wire, mixed media, and found objects. These invite curatorial creative input into the presentation through lighting direction and movement, and component inclusion and movement to offer a continually varied viewer experience. The perpetual dance of the shadow and conscious selves is illuminated.

Other pieces are physically palpable and bridge the genres of sculpture, painting and assemblage. Dozens of layers yield surfaces rich with archeology, reflecting the complexities of human existence. Creations become ‘entities.’ Forms extend beyond support boundaries, jut outward and encroach the viewer’s space. Uncensored raw materials are chosen for their symbolic and physical presence. Being raised by scientists and surgeons, and a career in organ and tissue transplantation research, ingrained a fascination with physical and psychological intricacies. The detail and the whole are equally important. Observing my father during his plastic surgery procedures etched suturing, cutting and tearing into my repertoire. Yet, my aim is reveal the underbelly, not veil it.

Bed of Flowers by John Waiblinger
Bed of Flowers by John Waiblinger

Identifying himself as a Queer Artist, John Waiblinger creates art images that celebrate male beauty. He came to his practice in middle age when he realized that digital tools offered him the chance to translate his ideas into reality. John’s series, “Journey”, will be on view in “Window Dressing” at Cerritos College Art Gallery March 19-26, with an opening reception Monday, March 19, 4-6 pm.

La Petit Morte by John Waiblinger
La Petit Morte by John Waiblinger


Artist Statement
These images are reflective of my growing body of work around a theme I’ve been exploring for some time now … my own relationship with male beauty, eroticism and romanticizing a Queer sensibility. I’ve been re-visioning some of the images I’ve collected over the years, establishing them in a new context, from a different perspective. Many of the men in these images have been collected from ‘hard porn’ sites and I’ve re-positioned them, re-imagined them in a different context, merging them with my own photographs as the basis for this re-visioning. So each work is a layering and recombination of two very different images.

The work is rather emotionally driven. Each of these men or couples has touched me on both an emotional and aesthetic level – caught my eye (and my “heart” so to speak) from a perspective other than raw sexuality, and I strive to communicate that vision in each piece. My thought is to perhaps humanize, respect and admire them from another angle than the context in which they were originally captured. Each of these men exists, after all, outside of the context of pornographic performance. My engagement with these images encompasses many hours of re-thinking and re-imagining who these men might be and my own sense of relationship with them.

Ultimately, I consider it an act of romance…

Author's Halllucination No. 3 by J. Fredric May
Author’s Halllucination No. 3 by J. Fredric May

Legally blind after suffering a stroke, photojournalist J. Fredric May turned his abilities to digitally manipulating vintage portraits to communicate his new visual reality. J. Fredric’s work will be in a two-person show at Keck School of Medicine of USC, opening March 5 through April 19, with an artist talk on March 28. As a Winter 2017 Finalist, J. Fredric’s work will be in the 2018 FOCUS Photo LA competition, March 15 to 18. In the meantime, he is preparing for a solo exhibition of “Apparition: Postcards from Eye See You” at Blue Sky Gallery in the Oregon Center for the Photographic Arts, April 5–29, in Portland, OR.

The Griffen Fifteen series by J. Fredric May
The Griffen Fifteen series by J. Fredric May


Artist Statement
In this selection of enigmatic portraits, photographer J. Fredric May invites the viewer to see as he does. These unique prints, the culmination of experimentation and innovation, bear testament to May’s core strengths.

To see is a transitive verb meaning it denotes an action in relation to an object. Seeing is not a solitary or isolated act. We create and store a ceaseless visual loop of information, which continuously feeds our perception. Sight involves rapid-fire motor activity; electrons are fired, synapses jumped, organs alerted and hormones secreted, all within milliseconds. May’s vision was irreversibly altered when a stroke from an aortic aneurysm took 46% of his vision in 2012 rendering him legally blind.

May was raised by collectors, inventors and engineers who instilled in him his active participation in regeneration. He learned creativity is always a process of combining existing elements. As a teenager, he taught himself to develop film following instructions from the World Book Encyclopedia. He then hacked his father’s slide projector to create a darkroom enlarger. Hooked on photography he studied science and illustration at Brooks Institute. May honed his vision and made his living as a photojournalist and commercial photographer. He earned the reputation of capturing the singular photo capable of wordlessly transmuting the impact of an event. His editor called it the “A-one shot” and often ran it as the cover image of a news story. He worked as both a news agency and freelance photojournalist for a dozen years before founding Penny Jar Pictures, an industrial filmmaking production company, in 1999.

Following his stroke, May embraced his limited sight as a challenge. He faced the additional experience of vivid visual hallucinations, a result of Charles Bonnet syndrome, with curiosity. In theory, this syndrome is thought to be the brain actively regenerating visual imagery in an attempt to fill what is now an opaque blur. During his rehabilitation, May picked up his iPad and started to do what he does instinctively which is to explore.

These archival pigment prints are a hybrid of analog and digital processes. May begins with vintage portraits, which he scans and puts through data corruption software. He then creates layered composites and prints theses as cyanotypes. He bleaches and tones his cyanotypes with a mixture of photo chemicals and tea. Ultimately, he digitizes the altered cyanotypes and creates an archival pigment print.

In an ironic parallel, the digital technology May uses mimics the interrupted brain activity he experienced firsthand. Secondly, his art making accelerated his recovery and may have improved his functioning beyond traditional rehabilitation methods, thus inspiring researchers to study alternate treatment for stroke patients. In a final twist, May has replicated in fine art his talent for capturing an in-depth story in a single image.

Susan Amorde, Installation at Shoebox Projects, 2017
Susan Amorde, Installation at Shoebox Projects, 2017

Susan Amorde: Sculptor and Installation Artist

This week, we bring you the work of Susan Amorde. Susan uses vintage suitcases and luggage carriers as metaphors of the metaphysical baggage we all carry with us. Susan’s work will be in Feminism Now at Shoebox Projects, February 25 to March 11 and in Points of View at Muzeumm opening March 3. Susan was recently profiled in the print edition of the San Luis Obispo Tribune.

Artist Statement

My recent mixed media works explore the notion of baggage— in all its emotional and physical manifestations.I use vintage suitcases I find at markets, thrift stores, and garage sales assembling them in myriad ways.When I happen upon a suitable suitcase, I know it instantly— as something about its character and my imagining of its history immediately resonates. I choose these specific vintage items for their personalities and for the narrative potential I can weave into my art. My sculptures are imbued with a sense of nostalgia; however, I am simultaneously exploring the more psychological and emotional connotations of baggage.

I am meticulous about my materials and carefully consider all aspects of the elements that comprise my artworks. Nothing is arbitrary or left to chance. Materials are chosen for their visual, historical and conceptual significance. My suitcase pieces range in size; some are shown as individual works while others are combined to become large-scale sculptures and installations. I address themes that range from the intimate to the universal.

In many of my works, I comment on psychological and social issues while simultaneously asking the viewer to imagine not only the contents of the valises but also their prior histories and the various travels of their diverse but absent owners. I believe these pieces to be about collective experiences.

In some of my smaller pieces I insert antique brass portholes into the sides of the suitcases. The portholes function as windows into private, womb-like worlds that are filled with small objects and carefully lit from within. The vignettes I create in these water filled spaces evoke a sense of discovery as if the viewer has happened upon a sunken treasure— in the form of small keepsakes— that reference the passage of time as well as the notion of being hooked or captured. In these pieces, I hope to evoke the sense of looking into the souls of the past and present. The pieces are also about the transformation of personal narratives into something universal.

In all my works, both past and present, I am interested in metaphorically representing human emotions, universal themes and the baggage people carry— both literally and spiritually—using carefully chosen vintage objects that I transform and juxtapose in various ways to comment on the hardship and joys of life’s journey.


Misty Cabbage by Karen Hochman Brown
Misty Cabbage by Karen Hochman Brown

Karen Hochman Brown: Fine Art Photographs Driven by Math and Technology

Let us introduce you to Karen Hochman Brown. Karen creates digital images inspired by her childhood affinity for kaleidoscopes and her passion for math and technology. Karen will be opening her solo show at Crain Art Gallery in the San Marino Library on February 24, through to April 6. Then, in May and June this year, Karen’s work will be part of the Through the Eyes of Artists posters on LA METRO System.

Artist Statement
I’m a child in my mother’s garden. Flashes of color and light dance as I hold my first kaleidoscope up to one eye, close the other, find a source of light, and the rest of the world disappears while I endlessly turn, turn, turn.

The light transforms broken bits of colored glass into perfect rays of symmetry. Identical triangles recede into the mirrors, creating vibrant patterns, effortlessly changing as I spin the tube while my heart beats in wild delight at the endless play of animations.

I slow the spin, watch for an exceptional shape and stop. The momentary pattern is fragile, can collapse in an instant, so I hold very, very still. Even then, precision is required. Who would imagine that I was igniting a life-long passion for the swirling patterns of light and color born on a summer’s day so long ago?

Today my kaleidoscope is more complex. Computer software and hardware replace the simple tube of cardboard, glass, and mirror. I sit with a stylus and keyboard, watching the show unfold as I turn, layer, and spin the reflection from one of my photographs, brightly illuminated in my monitor.

No longer restricted to a three-way reflection or a flat mirror, I romp through polar space, fiddle with fractals, and play in the realm of infinite images.

From one of my photographs, I pull out the metaphorical “broken bits of glass” and turn these into my own kaleidoscopic imagery — spinning, nudging, and shifting these flecks of light until, like that child on the lawn, my heart beats wildly and I become lost in the endless dance of color, light and shape.

Nano Bug City by Karen Hochman Brown
Nano Bug City by Karen Hochman Brown
Erythrina on Fire by Karen Hochman Brown
Erythrina on Fire by Karen Hochman Brown