Jeffrey Berg

Jeffrey Berg

 

 

Bearing Witness

April 5 – April 27,2025

These drawings bear witness to the lives of people crossing borders—manmade and psychological—who seek to escape hardship and trauma, hoping for safety and refuge. Bearing witness firsthand to others’ experiences makes us present for injustice, gives voice to privation, and connects us on a human level.  A witness assures that stories are heard truthfully, to transcend time and difference. Reality is less meaningful if no one bears witness and attends to our stories. How do we respond to the trauma, conflict, and stresses of today’s world? This collection seeks to bear witness to the fullness of people, each with a past, present, and future. Who are they, what motivated them to cross, what did they leave behind? What trauma did they endure at home and on their journey? What is their vision? What prompts their hope, their faith in crossing?

Artist Statement

My vision is to explore individual character within the world in which we live. Through internal, person-centered narratives, my drawings ask how we define ourselves within our social context, such as how we carry our past with us as the lens through which we view the present, and how we seek human connection.

Drawing is everything to me. I work within a narrative, a moment in a story, an internal exploration of an external event. I focus on contemporary, social justice/humanist themes with both intimate and broad implications, stories experienced through life in Washington, DC, through my former work in a community mental health clinic, or what I’m reading.

The result, I hope, is thoughtful, intriguing, truthful, and a bridge between self-exploration and how to translate such understanding into action in our present world.

Arianne Ohara

 

Soft Archives: Threads and Textures of History
Curator: Arianne Ohara

April 5 – April 27, 2025

Soft Archives: Threads and Textures of History highlights how textile artists weave fibers of individuality into a tapestry of collective memory. Featuring six early-career artists across the U.S., the exhibition examines diasporic narratives through fiber. Diego Borgsdorf Fuenzalida’s South American weavings document life after political violence in diasporic Chile, while Davvon Branker’s cyanotype fabric installations imprint images of Afro-Caribbean lives. Kayla Dantz transforms photographs into wearable archives, and Hùng Lê fills archival silences of the American War in Việt Nam with indigo dyes and embroidered cyanotypes. Annais Morales highlights Mexican-American nostalgia in the California borderlands, and lyra purugganan’s filet crochet explores desire, joy, and colonial legacies in the Philippines. These artists showcase fiber’s potential as an archival material capable of building history. The tactile nature of textiles invites an intimate engagement with the past, becoming a canvas upon which underrepresented voices can be amplified while challenging dominant historical accounts.

Curatorial Statement

Arianne Ohara is a curator dedicated to sustainable practices with a focus on uplifting emerging contemporary artists. As a Mexico City native with Japanese-American roots, Ohara centers her research-based practice on the exploration of cultural heritage and intersectional history, examining how the construction of cultural memory shapes our understanding of the past and its lasting resonance in the present. She has a particular interest in tactile and multidimensional objects that create immersive experiences and interactive installations. Ohara currently works at the American Museum of Ceramic Art and the Pitzer College Art Galleries, where she curates student exhibitions such as “Sensorium” and “(re)Location: Real and Imaginative Displacement”. Previously, she held curatorial and collections roles at the Institute of Contemporary Art, LA, and the Academy Museum of Motion Pictures. Ohara is earning her BA in Art History and Environmental Analysis at Pitzer College.

Hyunsuk Erickson

 

Thinggy of Their Town

April 5 – April 27, 2025

Thinggy of Their Town is a reflection of Hyunsuk Erickson’s cultural hybridity, shaped by both Korean and American influences. Through solo weaving, knotting, and crochet work, she navigates the tensions of adaptation and resistance within her identity. This ongoing project continuously evolves into an immersive world of its own, adapting to different sites while maintaining a distinct presence. Each totem has a unique personality, yet remains faceless, inviting open interpretation. In the evolution of Thinggy of their Town, Hyunsuk aims to create spaces for dialogue on cultural identity, transformation, and the fluid nature of belonging.

The work in the exhibition explores the intersection of contemporary sculpture and traditional fiber arts through multicolored totems. Beginning with organic column-like structures, Hyunsuk encases hard materials such as ceramic, wood, and PVC pipe objects within intricately embroidered and crocheted outer layers. These standing forms, which she calls “Thingumabob,” merges crochet and natural clay with vibrant synthetic materials, embodying a dialogue between heritage and modernity.

Artist Statement

As an immigrant, artist, and mother, I navigate the tensions between tradition and transformation, where multiple cultural influences intersect and evolve. This ongoing exploration informs my artistic practice, shaping my approach to materiality, adaptation, and belonging. As reflected in Thinggy of Their Town, I examine cultural identity in the face of the climate crisis. Drawing from my upbringing on a Korean family farm and my experiences in the U.S., I integrate repurposed materials to reflect the contrasting consumption patterns of my two cultures—from minimalism to maximalism. Through fiber-based sculptural techniques, I create immersive environments that invite dialogue on sustainability, consumerism, and identity. By reshaping familiar materials into new forms, my work challenges perceptions of cultural adaptation and encourages deeper engagement with the spaces we inhabit.

Paloma Vianey

 

Don’t Zip Me Up

March 8 – March 30, 2025

Through Don’t Zip Me Up, Paloma Vianey seeks to challenge common misconceptions about her birthplace and hometown, Ciudad Juarez, which from 2008 to 2012 was widely labeled as, “the most dangerous city in the world.” While crime and violence has drastically decreased, the city is still regarded as unsafe by native Mexicans and foreigners alike. Vianey attempts to destigmatize Ciudad Juarez by depicting its vernacular landscape. She presents the city not as the epicenter of cartel related violence, as depicted in literature and film, but as a lived community. By providing each work with a canvas chamarra (Mexican Spanish word for jacket), Vianey personifies the city, affording it warmth and dignity.

Artist Statement

As an artist from the U.S.-Mexico border, I explore narratives about my home city, Ciudad Juárez, and its geographical, political, and cultural circumstances. I began painting during my teenage years when Juarez’s violence peaked. As the city flooded with violence, painting became a cathartic activity that gave me a sense of freedom I had never experienced. Since then, I have been using art as a visual language for social justice. I also narrate my experience of crossing the U.S.-Mexico border every day for years, exposing the realities of this barrier aggressively dividing the North American landscape. With the paintbrush, I explore alternative processes of painting and experiment with the addition of symbolic materials. Through historical, photographical, and anecdotal references, I create paintings that provide both care and reflection to Juárez and the border. Observing painting as an act of care, I attempt to portray the resilience of this city where 1.6 million citizens live.

Artemis Herber

Danger Zones: Beyond the Past

March 8 – March 30, 2025

Danger Zones: Beyond the Past is an immersive installation by Artemis Herber that examines the intersection of power, memory, and time in shaping the future of our shared planet. The exhibition explores the lasting consequences of human intervention in the environment, prompting reflection on our collective ecological impact.

Combining selections from Herber’s Danger Zones series with Recollection, the installation evokes the aesthetics of Columbaria—compartmentalized spaces for urns—creating a contemplative environment where fragmented landscapes and human forms intertwine. The sculptural works from Danger Zones, developed through collaborative performance and material experimentation, serve as stark reminders of environmental fragility and the remnants of human presence in an altered world.

By integrating deep-time materials such as cardboard, coal, marble dust, and repurposed industrial elements, Danger Zones: Beyond the Past questions the Anthropocene’s irreversible transformations and reimagines our relationship with the natural world, offering a space for reflection and speculative futures.

Artist Statement

I examine where we currently stand—on the precipice of collapse. Humans have reshaped the world, rendering it fragile, with signs of degradation visible at every turn. My work reflects this reality, utilizing materials sourced from deep time, industrial processes, and environmental extraction.

My artistic practice fuses mythology, geology, and environmental concerns, revealing how ancient narratives re-emerge in contemporary crises. By incorporating geological materials and myths such as Gaia, Mnemosyne, and Artemis, my sculptures and paintings embody a layered history of human intervention.

Through my Danger Zones series, I investigate spaces of transformation and tension—where destruction and resilience coexist. My process incorporates performative elements, casting body parts into reformed landscapes, leaving behind hollowed traces of existence. These hybrid configurations serve as cautionary monuments to the Anthropocene, urging us to reconsider our relationship with the environment and to confront the deep entanglements of memory, time, and ecological change.