Erika Lizée

Eternally Searching (0,1,1,2,3,5,8,13…)


Los Angeles Art Association/Gallery 825
825 N La Cienega Blvd
Los Angeles Ca 90069

On view October 21, 2017 to December 1, 2017
Opening Reception October 21 6-9pm

Neither representative nor completely abstract, artist Erika Lizée constructs site-specific installations with painted biomorphic forms that evoke a sense of wonder and a greater connection to the universe. Aimed at altering perceptions and expanding the collective consciousness, Lizée creates visually mystifying paradigms as she finds new ways to entice and express the powerful relationships between all living beings and the universe they inhabit.

Finding inspiration in the eternal search for understanding life as we know it, as well as the artistic space of the gallery itself, Lizée utilizes the white cube walls as symbolic thresholds between life and death and what is known and unknown in this world. Beyond the wall’s superficiality, more complex biomorphic forms combine within the natural boundaries of sacred geometry and the golden ratio, while other forms expand and emerge into the physical realm of the viewer.

Using the techniques of trompe l’oeil and sculptural painting, Lizée works in conjunction with actual light and perception—as if physical materials—to spark a sense of wonder in the viewer. Lizée’s artistic whimsy and soulful provocation create a transformative experience as viewers’ perceptions shift into greater understanding of the relationship between artistic materials and exhibition space. Creating a purposeful epiphany guides viewers into an enlightened state of being as they explore all of the complex details in the installations and discover new truths around every corner.

Finding fuel in scientific theory, mathematical truths and sequences, and the core similarities in all-natural creations, Lizée creates work that reflects her personal thirst for knowledge and understanding, while inspiring and engaging viewers into asking more questions and sparking more curiosities. Her work is not observational but participatory and stimulating.

Like a mysterious, alluring phantasm or the inner workings of a biomechanical beast, Lizee’s illusory paintings will transform the exhibition space at Gallery 825, leaping off the walls and infiltrating the minds and imaginations of visitors during her solo exhibition. The Dura-Lar paintings will push and pull with viewers’ perception of art and art space, of real and unreal, and of representation and abstraction. Speaking to the deep-rooted questions we all face with regards to the existence of the universe and our role, as humans, in it.

About the artist:
Erika Lizée received her MFA in Painting from CSU Northridge in 2007. In 2008, she was hired as full-time faculty at Moorpark College where she is currently an Associate Professor of Art, as well as the Director of the Moorpark College Art Gallery. Lizée is an artist that creates site-specific installations, as well as paintings and drawings. Most recently, Lizée built installations within the International Terminal at the Los Angeles International Airport (LAX) and ArtShare LA. In September 2017, she participated in a group exhibit at Launch LA. Lizée’s work has been featured in Juxtapoz, Beautiful/Decay, Hi Fructose, The Huffington Post and Beautiful Bizarre Magazine. She currently resides in West Hills, California with her husband and two young children.

John Zarcone, Information Theory, oil and acrylic on canvas tarp, 6’ x 9’ x 0″

“Beautiful Parts” at CSU Northridge Art Gallery

Opening October 15th 2-4pm

California State University, Northridge
18111 Nordhoff St., Northridge, CA 91330

Cross Streets: Reseda Boulevard and Halsted Street.
Please park in the D6 Lot off of Halsted


Understanding that precepts of attractiveness have evolved over time and vary between cultures, this exhibition invites artists to consider cultural constructions of aesthetic appeal, and asks,—“How do we receive messages about beauty in a contemporary global society and how are we affected by internalizing ideals?” Works selected for the exhibition respond to canons of bodily proportion, such as ratio depiction (waist-to-chest, waist-to-hip, and leg-to-body), and consider the distinction between “real” and “ideal”. The artists selected for Beautiful Parts approach these issues with awareness of the history and continued evolution of dialogues surrounding body image and the related psychologies of status, identity, physical attraction, and self-esteem.

Featured Artists:
Marlena Guzman
Catherine Bennation
Jessika Edgar
Zeina Baltagi
David Estrada
Kristine Schomaker
Rain Lucien Matheke
Nurit Avesar
Alexsandra Papoban
Kimberly Morris
Michelle Nunes
John Zarcone
Monica Sandoval
Mona Kasra
Kellan Barnebey King

Juried by artist, Kim Abeles, and organized by the curatorial collective, Rough Play, Beautiful Parts marks the first annual exhibition hosted by the CSUN Alumni Association Art Chapter.

John Rosewall Bargain

John Rosewall


Los Angeles Art Association/ Gallery 825
825 N La Cienega Blvd
West Hollywood, California 90069

September 9 – October 13, 2017
Opening reception, September 9th 6-9pm

(Los Angeles) – Los Angeles Art Association is pleased to present Grip, a solo exhibition by Los Angeles based painter John Rosewall. Grip is both a noun and a verb. It means to take and keep a firm hold of something or to grasp tightly while simultaneously referencing a feeling or emotion as in to be gripped by… A grip, rather than to grip, references something is held in the hand, or for example a “tight grip.” The ambiguity and double entendre the word engenders is at the root of Rosewall’s paintings.

Seen in context of these definitions, Rosewall’s acrylic paintings both grip the viewer and illustrate the myriad ways people hold, or hold onto each other— be it a handshake, a pat on the back or a gesture of restraint. Each of Rosewall’s painting stems from the media and depicts altered images of violence culled from news photos. Painting them in muted colors, Rosewall reduces these appropriated images to their essential elements. Stripped of context, as Rosewall removes the background as well as any recognizable imagery or facial features, the scenarios become generic representations of violence taken for granted.

Most of Rosewall’s figures are anonymous– he rarely paints facial features– instead relies on gesture and implied bodily relationships. The act of aggression presented in painting such as Obedience and Cull (both 2016) depict two figures in the midst of a fight. In Cull one man has another in a chock hold. The victim, blindfolded by a thickly painted white sash, has an expression of anguish on his face. Only the strong muscular arms of his attacker are shown. Similarly, in Obedience, two figures tussle, their abstracted forms emerging from the deep black background. In Touch (2016) a disembodied black-gloved hand extends from a blue jacket resting on the back of a man wearing a stark white tank-top who faces the background void. Like Touch, Reach (2017) depicts the backside of a headset-wearing figure sitting in a chair facing a target on a computer screen. The man’s hand grips a red joystick.

The tight grip between two suited male figures shaking hands centered in Bargain (2017) clearly articulates the tensions Rosewall wants to present in these paintings. The works are about power, specifically the abuse of power and depict victims of violence, repression and exploitation. Through his painting, Rosewall communicates the reality of the human condition making aesthetic images that avoid the trap of aestheticizing violence.

John Rosewall, a self-taught artist living in Northeast Los Angeles, was born in Watsonville, California. He studied creative writing receiving a B.A. from UCLA (1984) and an M.A. from UC Davis (1986). Though he started out as a photographer making documentary style images, he later moved into abstraction and is now making quasi-representational paintings derived from news photographs. He states, he is “distilling the images into emblematic representations of violence, injustice, and oppression, with the aim of critiquing systems of power in the United States and abroad.”

Rosewall’s works have been presented as solo exhibitions at L.A. Artcore Brewery Annex (2014), Hale Arts Space (2013), drkrm (2012) and The San Luis Obispo Museum of Art. Local and national group exhibitions include Incarceration at Orange County Center for Contemporary Art (2017), Electric Salon, Los Angeles Center for Digital Art (2013) as well as shows at I5 Gallery and the Basement (2004, 2003). Rosewall also maintains the Blog Terrain. Begun in 2012 Terrain is an “interpenetration of news, critical theory, photographic images, essay writing, and most of all, painting.”

For more information please visit



John Rosewall Obedience


John Rosewall Cull

Baggage Station

Susan Amorde

“In My Case”

April 29 – June 2
Reception April 29, 6-9 pm

LAAA / Gallery 825
825 North La Cienega Boulevard
Los Angeles, CA

(Los Angeles – March 2017) – For her solo exhibition at LAAA/Gallery 825, Los Angeles based artist Susan Amorde presents an installation of sculptures from her ongoing project which explores the notion of baggage- in all its emotional and physical manifestations. This is best illustrated by the 2014 work, Block and Tackle, 2014, in which Amorde ropes together four vintage suitcases and suspended from the ceiling by a huge pulley and held in place by an anchor. In this work she explores the relationship between floating freely and being tied down. Each suitcase is laden with history and exudes a unique personality. Amorde plays with these tropes, imbuing her works with a sense of nostalgia while simultaneously exploring the more psychological and emotional connotations of baggage.

The works on view range in size and scope— from the intimate to the universal. Baggage Station, 2017 is comprised of more than 50 ownerless cases carefully organized on wooden shelves. In this piece Amorde asks the viewer to imagine their contents as well as their diverse but absent owners. In works such as It’s Time (2014-2017) and Drowning in Indecision 2015 Amorde inserts antique metal portholes into individual cases into which she places small keepsakes that reference the passage of time or the notion of being hooked or captured. These thoughtful works become windows into the souls of the past.

It’s Time

Susan Amorde is a Los Angeles based sculptor and installation artist who received a BFA from California State University, Long Beach. She recently had a residency and solo exhibition at Shoebox Projects, Los Angeles. Her work has been included in local and national exhibitions since 2000. Recent group shows include: Personal Narrative, Annenberg Beach House Gallery, Santa Monica, CA (2017); South Bay Focus, Torrance, Art Museum, Torrance, CA, Zero Down Group Exhibition, 1019West, Inglewood, CA (2016) and the 2015 Los Angeles Exhibition, Los Angeles Municipal Art Gallery, Barnsdall Park, Los Angeles, CA.

Block and Tackle


For Immediate Release

The Girl in the Red Dress

Bibi Davidson
Solo show


Los Angeles Art Association/Gallery 825
825 N La Cienega Blvd LA Ca 90069

October 15th – November 18th
Conversations with the artist November 16th 7-9pm

(Los Angeles) – Los Angeles artist Bibi Davidson kept her artwork secret for nearly 30 years. Therapeutic, meditative and cathartic, Davidson’s vivid paintings express the emotions and fears of a traumatic past. Opening October 15th at Los Angeles Art Association/Gallery 825, “The Girl in the Red Dress” shares Davidson’s inner turmoil revealing to us the wounds and scars of our own past.

“Chaos, or balagan, in Hebrew,” says Davidson “is the mess I always feel around me but cannot touch. The characters represent the people in me. Water, as in oceans, is dangerous for me, but also fascinates me by its strength and movement.”

The girl in the red dress is Davidson’s alter ego and her paintings are populated with characters, animals and landscapes that represent aspects of her personality and inner world. She creates a haven for herself where she feels comfortable and unafraid.

Art critic Shana Nys Dambrot says, “Davidson’s unmistakable aesthetic favors saturated colors and thick line-drawing evoking stained glass, graphic novels, and folkloric fairy-tales. She balances competing impulses toward abstraction and narrative, resolving precisely detailed rendering and emotionally charged gesture in exaggerated features, fantastical landscapes, and anthropomorphic creatures.”

In this show, Davidson experiments with lifting her characters and stories out of the flat two-dimensional canvas into the realm of sculpture, releasing them from their sorrow and reclaiming the joy that is our birthright.