Candlewood Arts Festival

Borrego Springs, CA

March 23 - April 14, 2024

See 2024 Artists

See 2024 Event Schedule

Join us for an inspiring day of art and community at the Candlewood Arts Festival in Borrego Springs, California, on March 23rd! This year’s festival features a diverse lineup of talented artists and educators, including Karla Diaz, Jake Frelich, Pearl C. Hsiung, Debra Scacco, and nearly 40 artists from Borrego Springs High School. The event will showcase a range of activities, from painting workshops and artist talks to a performance that weaves together the stories of Borrego Springs’ residents with the area’s unique desert landscape.

The festival kicks off with Karla Diaz’s participatory performance, “Borrego Unity Run,” offering a guided tour through the local histories of labor and community. Debra Scacco will engage visitors with discussions about her sculpture, inspired by the region’s water stories, while Pearl C. Hsiung leads a drop-in painting workshop using natural materials. The day will also feature an artists’ panel discussion, providing insights into their creative processes, and concludes with an opening reception at The Candlewood Gallery, showcasing works by both student and professional artists.

Don’t miss this vibrant celebration of art, education, and community in the stunning setting of Borrego Springs!

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Day Pages, Chan Gallery at Pomona College

Day Pages

Feb 14-April 1, 2024

Chan Gallery
Pomona College Studio Art Hall
370 Colombia Avenue
Claremont CA 91711

An exhibition of sketchbooks and working documents
Curated by Mercedes Teixido and Stas Orlovski

Day Pages is a look at process and exploration in the form of working drawings, notes, tools, and sketchbooks. It is a place of collecting and thinking and playing with words and images. These are things not made with an audience in mind but focused on connection to an impulse and the pursuit of the material manifestation of an idea.

The pages take many forms, from the studio ephemera of Lucille Paris, the informal sketches of Ben Shahn, to Russell Crotty’s large books documenting favorite sites of rock climbing and surfing. Pui Tiffany Chow allows us to see the abstraction of a figurative image in its progression and Lisa Anne Auerbach’s pages are preparatory drawings of personal libraries for her works in knitted tapestry.

This show is organized to be current with drawing exhibitions at the Benton Museum, 500 Years of Italian Drawing and Infinity on Paper: Drawings from the Collection of Jack Shear and the Benton.

Ben Shahn
Frederick Hammersley
Emily Joyce
Elijah Quetin
Pui Tiffany Chow
Lisa Anne Auerbach
Kari Gatzke
Solomon Salim Moore
Milford Zornes
Russell Crotty
Michael O’Malley
Prageeta Sharma
Salomón Huerta
Charles Long
Stas Orlovski
Chad Attie
Samira Yamin
Pearl C Hsiung
Lucille Paris
Mercedes Teixido

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Artist Talk at The Broad Museum

TALK

Art In Transit

Thursday, Nov 09, 2023

7:00 p.m. - 8:00 p.m.

Oculus Hall at The Broad

Tickets free with reservations

(L-R) Ann Hamilton. over-under-over, 2023. Printed film on glass/Lámina impresa en vidrio. Mungo Thomson. Negative Space (STScI-2015-02), 2023.Porcelain enamel steel panels/Paneles de acero esmaltado porcelánico. Pearl C. Hsiung. High Prismatic, 2023. Glass Mosaic/Mosaico de vidrio  

The Broad and Metro Art present Ann Hamilton, Pearl C. Hsiung, and Mungo Thomson in conversation. Moderated by Broad Curator and Publications Manager Ed Schad.

Located adjacent to the museum, the new Metro Grand Av Arts/Bunker Hill Station features strikingly beautiful, large-scale, architecturally integrated artworks by Ann Hamilton, Pearl C. Hsiung, and Mungo Thomson. The artists will discuss concepts behind each of the artwork designs for these site-specific commissions. The conversation will explore how each artist’s studio practice and past works informed their approach to these monumental public artworks, which transform the transit journey into a unique art experience. After the program, the artists will accompany guests into the transit station to experience the artworks in person.

Learn more about this event

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Metro Art Announces Monumental Artworks in Three New Downtown Los Angeles Stations

All artworks will be available for viewing upon the stations’ opening on Friday, 6/16/2023.

Artists (left to right, top to bottom): Andrea Bowers, Audrey Chan, Ralph Gibert, Mark Steven Greenfield, Ann Hamilton, Pearl C. Hsiung, Clare Rojas, Mungo Thomson, Clarence Williams and Samira Yamin

Metro Art reveals new site-responsive artworks by eight acclaimed artists, which have been integrated into each level of three highly anticipated downtown Los Angeles Metro Rail stations.

Artworks by

• Clare Rojas and Audrey Chan at Little Tokyo/Arts District Station

• Andrea Bowers, Mark Steven Greenfield and Clarence Williams at Historic Broadway Station

• Ann Hamilton, Pearl C. Hsiung and Mungo Thomson at Grand Ave Arts/Bunker Hill Station

All artists were selected through an open, competitive selection process following the recommendation of a panel of community-based arts professionals. Over 180 local artists, arts and cultural organizations and community advisors were involved in shaping the Metro Art program for these three new stations.

Additionally, temporary exhibitions by Ralph Gilbert and Samira Yamin are on view at the Grand Av Arts/Bunker Hill and Historic Broadway Stations as part of the Metro Art Lightbox Exhibition Program.

> Learn more about the new stations and details for opening day!
> Learn more about the artwork and artists.

High Prismatic by Pearl C. Hsiung - Concourse

High Prismatic by Pearl C. Hsiung on the Concourse level at Grand Av Arts / Bunker Hill Station

This ‘geyser’ reflects the dramatic forces of endless change that bubble and erupt in nature and human nature, both of which have shaped the Bunker Hill area. The saturated palette, variegated painting techniques and compositional approach in the artwork reflect aspects of the artist’s Taiwanese American identity and the multi-textured, polychromatic experience of growing up and living in Southern California.

Learn more about the artist and artwork.

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FAC XTRA RETREAT (FXR) at REDCAT

FAC XTRA RETREAT (FXR)

Ei Arakawa, Patty Chang, Pearl C Hsiung, Amanda Ross-Ho, Anna Sew Hoy, Shirley Tse, and Amy Yao

February 17 - 18, 2022

6 Asian American female artists and 1 Asian American male artist dancing together on mirror stage in the style of yuri on ice with two cats

FRI FEB 17, 8:30 PM
SAT FEB 18, 2 PM

REDCAT Roy and Edna Disney CalArts Theater

631 W 2ND ST. LOS ANGELES, CA 90012

FAC XTRA RETREAT (FXR) is a studio art pedagogy-themed performance by a temporal grouping of seven Asian American artist-educators based in L.A.: Ei Arakawa, Patty Chang, Pearl C Hsiung, Amanda Ross-Ho, Anna Sew Hoy, Shirley Tse, and Amy Yao. Academia uses acronyms more than Gen Zers! Inspired by the many mandatory online training modules and follow-up quizzes required of instructors by their teaching institutions, FAC XTRARETREAT (FXR) promises “learning outcomes” with a series of weird, hard, soft, informative, and sometimes physically challenging multiple-choice problems with answers deeply associated with each artist’s teaching philosophy. With the help of suspicious polling devices, costumed performers and all members of the public take on-stage votes. The results of the polls will be acted out, branched out, and change the destination of the performance. Participants will be awarded an FXR certificate of completion at the end.

BUY TICKETS

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Emily Cheng, Pearl C. Hsiung, Sarah Lee

8 July - 28 August 2022

39+ Art Space

39 Keppel Road, #03-01, Tanjong Pagar Distripark, Singapore

The works that will be showcased exploring themes ranging from the very humanly structural concepts of knowledge and power to critical re-evaluations of the anthropocentric sublime, to the cosmic bridge between mind, space, and spirit. While vastly different in style and focus, they are united in that they are women of Asian descent who grew up and are pursuing their creative practice in America. Cheng, Hsiung and Lee are adept with interweaving their unique perspectives with their individual theoretical investigations, frequently citing feminine energy, eastern artistic sensibilities, and eastern philosophies as driving forces in their explorations of more universal subject matter.

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New video: preview the artwork at future Grand Av Arts/Bunker Hill Station

Regional Connector Corridor Artwork: Time-Lapse of Mural by Pearl C. Hsiung

Piecing together parts of a large-scale glass mosaic mural in preparation for the future Grand Av Arts/Bunker Hill Station. Created by Pearl C. Hsiung, “High Prismatic” will tower 61 feet high over the station’s prominent concourse elevator lobby.

Translated into glass from an original painting that explodes with clouds of Sumi ink, an eruption of squeegeed enamel paint, rich washes of watercolor and a spray paint speckled sky, the artwork references the constant geological, social and urban change that Bunker Hill has undergone.

Regional Connector is a 1.9-mile light rail project connecting the Metro L Line (Gold) to 7th Street/Metro Center Station in downtown Los Angeles. The project will feature artwork integrated into three new stations: Little Tokyo/Arts District Station, Historic Broadway Station, and Grand Ave Arts/Bunker Hill Station.

Video originally posted on Metro Art

Over the last year, the painting’s glistening colors and textures have been carefully translated into glass mosaic by skilled artisans at Mosaicos Venecianos de Mexico in Cuernavaca, Mexico. The studio works with professional artists to create artworks for public environments.   

The artwork references the constant geological, social and urban change that Bunker Hill has undergone, as well as the artist’s Taiwanese-American identity and “polychromatic” experience of growing up in L.A. 

“I wanted to celebrate the disparate yet harmonious cosmos of images, languages, cultures and relationships that make up the history of this region, its ever churning present and endlessly shifting future,” states Hsiung. 

Mosaic as an art form has been traced back as far as the fourth millennium B.C. to the Temple of Urukin Mesopotamia and the ancient Greek city of Pella. Mosaics were also found in Pre-Columbian cultures, which decorated objects using shells, mother-of-pearl and semi-precious stones. Because glass mosaic is highly durable, materials are often used in artworks in transit systems.

Over 1 million hand-made and cut-glass pieces of various sizes create the final artwork seen here at Mosaicos Venecianos de Mexico during fabrication.

A key step in advance of final assembly and installation is the dry-fit process. Staff from Metro Art & Design recently laid out the fabricated glass mosaic for review with the artist. The goal of the processes is to confirm the artwork fulfills the original artwork design and that all pieces are present before final installation in the station.  

Here’s a quick glimpse into the dry-fit – and more to come!

View fullsize

Metro Art staff carefully laying out one of over 750 sheets of glass mosaic during dry-fit.

View fullsize

The back of one glass mosaic sheet among the hundreds assembled during dry-fit at Metro’s Central Maintenance Facility.

Originally posted on Metro Art

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The Hearing Trumpet, Part I

The Hearing Trumpet

Part I

26 February – 26 March 2022

Organized by Danielle Shang

Galerie Marguo is pleased to present The Hearing Trumpet, Part I, the first installment of a group exhibition gathering artists of Asian descent from the Americas and Europe. The title of the exhibition is adopted from the late Leonora Carrington’s fantastical novel The Hearing Trumpet (1974). 

The participating artists include Pio Abad, Naotaka Hiro, Pearl C. Hsiung, Ce Jian, Yeni Mao, Tammy Nguyen, Anna Sew Hoy, Sean Shim-Boyle, XIE Lei, ZHANG Yunyao, and Ye Qin Zhu. Their works span all disciplines and articulate negotiations of multiple and sometimes clashing histories and identities, the processing of trauma and new awareness, and different notions of temporalities and spatialities that are informed by personal memories, collective experiences, and conceived in different social and cultural contexts.

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hyper(in)visibility panel discussion

About the Discussion:

This panel is held in solidarity with Black Lives Matter and all those globally denouncing systems of oppression, racism, and police brutality. We are vested in the global rebellion precipitated by George Floyd’s killing. As long as some groups are more vulnerable to violence and death than others, we will not be able to realize our full collective humanity or achieve racial justice.

In light of the pandemic, the pre-existing dysfunction within many systems and their leadership are magnified and racial, gender, and class inequalities exacerbated. The yellow woman’s body, historically rendered either invisible or as “object,” is now catapulted into hypervisibility amidst xenophobic questions of contagion, virility, and a history of scapegoatism. 

Asian women occupy a precarious racial embodiment within their art practices and Western contemporary art, regularly experiencing institutional racism and tokenism. Their presence within the art world often produces a racial wedge between whiteness and other people of colour.

In conversation with Pearl C Hsiung, Maia Ruth Lee, Astria Suparak, Stephanie Syjuco, Hồng-Ân Trương, and Christine Tien Wang, host stephanie mei huang invites all to hear from six Asian women artists on reckoning with a racialized and gendered spectrum of visibility, moving through their practices with and of yellow embodiment, and the possibility of racial (or transgressively, non-racial) alternatives. 

Convened by stephanie mei huang with Pearl C Hsiung, Maia Ruth Lee, Astria Suparak, Stephanie Syjuco, Hồng-Ân Trương, and Christine Tien Wang as part of Contemporary Calgary’s Collider residency May 1 - June 15, 2020.

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FAULT ZONE at Visitor Welcome Center

Visitor Welcome Center presents
Pearl C. Hsiung and Arshia Haq
Opening Reception on Saturday, November 16, 2019 from 5–8pm
November 16 – December 21, 2019
Gallery Hours: Wednesday – Saturday, 12–6 pm

Gomukh is the terminus of the Gangotri glacier whose ice melt is the source of the Bhagirathi River, one of the major headstreams of the Ganges River that flows through India and Bangladesh. In 2017, an Indian court granted Himalayan glaciers the status of environmental personhood, a conservation strategy that legally designates environmental entities the status of a person with rights enforceable by law. The concept emerged as a way to protect and preserve nature, and has been used as a vehicle for courts to legally recognize the relationships indigenous people have to their lands. New Zealand’s Maori have known the Whanganui River to be their ancestor and have been fighting for its protection since the late 1800s. A few weeks before Gomukh was granted legal personhood, a New Zealand court finally determined the Whanganui as a “living entity.” Ascribing human status to nature reveals and muddies the distinction between human and non-human and highlights the range that anthropocentric logic reaches in order to sustain an anthropo-friendly ecology.

The interdependence of human and nature have always been central to Pearl C. Hsiung’s painting, installation and video work. More recently, attention to the artificial has become forefronted in Hsiung’s meditation on human/nature interconnectedness to expand her focus into ideas surrounding a nature/human/artificial interface. The works in Fault Zone take into account the inescapability of the artificial as woven into earthly matter; into the air, water, earth as well as into the flesh of human and the more-than-human. Two paintings, They (Gomukh) and They (Taranaki Falls) depict liquid landscapes in their active and morphing natural and personhood states. Flattening, or obfuscation of dimension, is both a conceptual and formal feature in Hsiung’s works. Various planes, plates, and concepts collapse onto the painted surface, obscuring the lines between human, nature, and artifice.

Emerging from the gallery floor stands Themses, a sited painting comprised of a series of vertical panels that allude to a topography-in-metamorphosis. Blocks of cool-toned paint, with the likeness of dense ice, are pulled downward and dragged across the surface; at times in excess, merging into oozey, marbling streams, while at other times in paucity, exposing the hot, bright fluorescent underpainting. The symmetrical painted panels frame a central ‘ice core’; a plexiglass stripe lined with plastic-film rubbish collected from non-recyclable and under-recycled food and product packaging. By merging anthropological, glacial, and polyethylene temporalities, Hsiung’s work is a proposition of what our lived present looks like. Fault Zone ponders the state of our current ecology that is currently shifting beneath our feet. This movement can occur slowly, in the form of creep, or occur rapidly, as in a quake. Hsiung’s interest is in the extensiveness of this boundaryless space.

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The Vision Board at Kopeikin Gallery

THE VISION BOARD

June 29th - August 24th, 2019
Reception for the Artists Saturday, June 29th from 6 - 9pm

Curated by Elizabeth Valdez

Participating artists: Rebecca Bird, Nancy Buchanan, Alejandro Cartagena, Jamison Carter, Carolyn Castaño,  JooYoung Choi, Kevin Cooley, Joseph Cultice, Jen DeNike, Fabian Debora, Michael Dee, Margaret Griffith, Chris Finley, Carla Jay Harris, Pearl C Hsiung, Bettina Hubby, Salomon Huerta, Elizabeth Huey, Nina Katchadourian, Kiel Johnson, Kysa Johnson, Laura Krifka, Mark Licari, Jordie Oetken, Amy Park, William Powhida, Monique Prieto, Osceola Refetoff, Fawn Rogers, Gretchen Rollins, Erika Rothenberg, Katie Shapiro, Guy Richards Smit, Rodrigo Valenzuela, Elizabeth Valdez, Marnie Weber, Sarah Ann Weber, Christopher Williams and Melanie Wilhide. 
 

Champagne fueled Curatorial Walk Through with Elizabeth Valdez
July 20th & August 10th at 12 Noon

"THE BEAUTY OF THIS CONCEPT IS THAT IT'S APPEALING
FOR MANY ARTISTS WITH DIVERSE BACKGROUNDS."

KOPEIKIN GALLERY
2766 S. La Cienega Blvd.
Los Angeles, CA 90034
310.559.0800
info@kopeikingallery.com
http://www.kopeikingallery.com

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The Beyond at NBMAA

The Beyond: Georgia O'Keeffe and Contemporary Art
is now at the New Britain Museum of American Art in New Britain CT
On view through June 2, 2019

http://www.nbmaa.org/exhibition/the-beyond-georgia-okeeffe-and-contemporary-art

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Candlewood Arts Festival March 29-31, 2019

On Saturday March 30, 2019, Holocene Screen, an outdoor sculpture created in collaboration with the youth of Borrego Springs, will be installed in Galleta Meadows in Borrego Springs. Holocene Screen, which explores the interconnected and transforming relationship of human/nature/artificial, will engage the public in these ideas as they are invited to add to and expand on this work sited out in the expanse of the Anza Borrego landscape.
http://candlewoodartsfestival.org

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New Suns at Páramo, Guadalajara

December 01, 2018 - March 02, 2019

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