Reimagined Poetry
Invitational Art Exhíbition
ARTWORKS INSPIRED BY POETRY
JUNE 6 - 22, 2025
Nina Zak Laddon, Curator
Opening Reception
6.6.20256-9pm
GALLERY HOURS:
6.7.2025 1-7pm
6.8.20251-7pm
6.13.20251-7pm
6.14.2025 1-7pm
6.15.2025 1-7pm
6.20.20251-7pm
6.21.2025 1-7pm
6.22.20251-7pm
PIER PLAZA REDONDO BEACH:
107 W Torrance Blvd Suite 204 NORTH GALLERY
105 W Torrance Blvd Suite 108 EAST GALLERY
105 W Torrance Blvd Suite 106 SOUTH GALLERY
Front cover: 121 W Torrance Blvd Suite 201 HORIZON GALLERY Peggy Zask 123 W Torrance Blvd Suite 201 WEST GALLERY
Timeless
The Horses
Edwin Muir
Barely a twelvemonth after We make our oxen drag our rusty plows, The seven days war that put the world to sleep, Long laid aside. We have gone back Late in the evening the strange horses came. Far past our fathers' land.
By then we had made our covenant with silence, And then, that evening But in the first few days it was so still Late in the summer the strange horses came.
We listened to our breathing and were afraid. We heard a distant tapping on the road, On the second day A deepening drumming; it stopped, went on again The radios failed; we turned the knobs; no answer. And at the corner changed to hollow thunder.
On the third day a warship passed us, heading north, We saw the heads Dead bodies piled on the deck. On the sixth day Like a wild wave charging and were afraid.
A plane plunged over us into the sea. Thereafter We had sold our horses in our fathers' time Nothing. The radios dumb; To buy new tractors. Now they were strange to us And still they stand in corners of our kitchens, As fabulous steeds set on an ancient shield.
And stand, perhaps, turned on, in a million rooms Or illustrations in a book of knights.
All over the world. But now if they should speak, We did not dare go near them. Yet they waited, If on a sudden they should speak again, Stubborn and shy, as if they had been sent If on the stroke of noon a voice should speak, By an old command to find our whereabouts We would not listen, we would not let it bring And that long-lost archaic companionship.
That old bad world that swallowed its children quick In the first moment we had never a thought At one great gulp. We would not have it again. That they were creatures to be owned and used.
Sometimes we think of the nations lying asleep, Among them were some half a dozen colts Curled blindly in impenetrable sorrow, Dropped in some wilderness of the broken world, And then the thought confounds us with its Yet new as if they had come from their own Eden. strangeness. Since then they have pulled our plows and borne our The tractors lie about our fields; at evening loads,
They look like dank sea-monsters couched and waiting. But that free servitude still can pierce our hearts.
We leave them where they are and let them rust: Our life is changed; their coming our beginning. "They'll molder away and be like other loam."
2. Their Coming, Our Beginning:
Peggy Sivert and Ben Zask
Inspired by The Horses, a poem by Edwin Muir, 1956. This 53-line poem describes in literal and symbolic terms the devastated world and the arrival of the horses. The narrative follows the collective mind of the survivors as they put the past behind them and look to the Post apocalyptic landscape inspired by The Horses poem, personally living in active landslide and a world in crisis.
Viewers enter the door and are directed left, down a hall into a small room that projects a video of live horses moving freely within various landscapes, both broken and beautiful. The darkened room is filled with various assemblage sculptures of strange horses on and around sculpture made of the detritus of broken civilization. This beautiful rubble of art objects leads into the main room awash with natural light from large windows. Here the viewer is surrounded by large scale sculptures of horses, plants and odd natural forms. The walls show artworks of assemblage and collage made of recycled objects and imagery demonstrating the rejuvenation of what has passed, as one flower dies, so a new one blooms
The Installation aligns closely with the feelings of devastation being felt today by humanity throughout the world. Once again civilization is reaching its Apocalyptic end. And once again, our survival needs and instincts are being called upon to restore
civilization. For every Ying there is a Yang. Destruction may initiate our inner strength, resilience, and the rise of nature; destruction to rejuvenation / desolation to
vitality. As the poem reflects, the horses representing nature, return. Their coming, our beginning.
Coincidentally 1956 correlates to:
The publishing of Poem, The Horses, The peak of the
Cold War (US vs Russia) and The Reactivation of the
Portuguese Bend Landslide by human development
after being dormant for thousands of years
Living in harmony with nature and the spirit within
human endeavor. As represented by the appearance
of horses and resurgence rejuvenation of nature.
Reproductive parts of flower The reality of an
Apocalypse is upon us, and we are embracing the
development of a Post Apocalyptic world.
Flora Kao presents a new series of
work inspired by the color blue and poetic
musings on water and memory. Rebecca
Solnit describes blue as "the far edge
of what can be seen ... the color of an
emotion, the color of solitude and of
desire, the color of there seen from here,
the color of where you are not. And the
color of where you can never go. " Lines of
Desire is a blueprint amalgamation of the
Los Angeles street grid. Contemplating
Hope is a contact sun print of Kao's
immersive net installation Hope. Both
works are inspired by the poetry of
Edward Cheng and made in remembrance
ten years after his passing. Tide layers
rubbings of White Point Beach in response
to Henry Wadsworth Longfellow's poem
"The Tide Rises, The Tide Falls." As
Margaret Atwood writes, time is "like a
series of liquid transparencies, one laid on
top of another. You don't look back along
time but down through it, like water ...
Nothing goes away."
The Tide Rises, the Tide Falls
Henry Wadsworth Longfellow
The tide rises, the tide falls,
The twilight darkens, the curlew calls;
Along the sea-sands damp and brown
The traveller hastens toward the town,
And the tide rises, the tide falls.
Darkness settles on roofs and walls,
But the sea, the sea in the darkness calls;
The little waves, with their soft, white hands,
Efface the footprints in the sands,
And the tide rises, the tide falls.
The morning breaks; the steeds in their stalls
Stamp and neigh, as the hostler calls;
The day returns, but nevermore
Returns the traveller to the shore,
And the tide rises, the tide falls.
Tide
4 Tia Magallon
Restrict, Censor, Banned....
Thousands of titles have been removed from public schools across the country in 2025. PEN America has documented nearly 16,000 book bans in public schools nationwide since 2021, a number not seen since the McCarthy era of the 1950s.
This censorship, mobilized by conservative groups, has spread to nearly every state, primarily targeting books about race and racism, individuals of color, LGBTO+ topics, and books for older readers that contain sexual references or discuss sexual violence.
In response, I created these vibrational paintings sandwiched between collage layers. I placed these panels on a speaker and poured liquid acrylic paint while each reading was being played. The vibration of the spoken voice influenced the flow of the paint.
In addition to selecting semi-transparent pearlized paint that occasionally obscures the image, it hints at censorship.
"The Hill We Climb," Amanda Gorman's poem written for President Biden's inauguration, has been restricted at a South Florida elementary school after a parent complaint.
A parent affiliated with the Proud Boy movement, claimed that the poem "indirectly" contained "hate messages" and expressed concerns that it could "confuse and indoctrinate students." Consequently, Bob Graham Educational Center, a public school in Miami-Dade County, has decided to limit access to the poem for elementary students and remove it from the elementary library. "Milk and Honey," a poetry book by Rupi Kaur, has been banned in several school districts across the United States, particularly in Texas and Missouri.
The book delves into profound themes such as love, trauma, and healing, including the author's personal experience of sexual assault.
These bans are frequently driven by conservative parents who find the book's content objectionable.
"And Tango Makes Three," by Peter Parnell and Justin Richardson, narrated by Neil Patrick Harris, is a book based on the true story of two male chinstrap penguins, Roy and Silo, at the Central Park Zoo, who raised a chick together.
It has been banned or restricted in multiple locations across the nation due to concerns about its depiction of a same-sex relationship.
The book's challenges and removals have been linked to concerns about age appropriateness and perceived promotion of a specific lifestyle. "Howl," a classic poem by Allen Ginsberg, was banned in 1957 due to its explicit sexual language and candid exploration of mental illness, drug use, and queer identity.
U.S. customs seized copies of the book, labeling it as "obscene." The poem became the subject of a notorious 1957 obscenity trial.
Despite its historical significance and widespread availability, it is surprisingly absent from many Florida classrooms today.
6 1 a
e
The Hill We Climb
And Tango Makes Three
Milk and Honey Howl
Emerge and Rebuild
Lynn LaLonde Allen
Creating art is an emotional response—each piece begins with whatever I am feeling in that moment: joy, grief, anxiety, insecurity, elation, or fear. My work is a mirror of my internal state.
As a native of Los Angeles, the recent wildfires struck a deeply personal chord. At the time of the artist call for this show, my city—my childhood, my memories-was burning. Homes,
landmarks, parks, schools, even my brother's home were
consumed. It wasn't just loss; it was violent erasure. The LA we knew was forever changed
In the face of such devastation, I couldn't dwell on whether healing was possible—| had to believe it was. Amanda Gorman's poem Smoldering Dawn resonated with me, especially when she speaks about mending and reclaiming our city. That call to action became my anchor.
I began exploring fire-something I had never painted before- through sketches. It was terrifying, like confronting a killer.
And yet, fire in its contained form is also mesmerizing, almost comforting. I approached the canvas with chaotic brushstrokes and raw emotion, hoping to express not only the destruction but also the flicker of recovery, of light returning.
This work is for those still on the road to healing-those who lost homes, loved ones, or a sense of safety. The path is long, but we must reach inward and begin. Heal From The Trauma
8 The Coronavirus Fable
Ann Stromquist
This series of ten collages is a poetic description of
the Coronavirus Pandemic that began in 2020.
1. The Pandemic Comes to Town
2. We Shelter 3. It's Hit or Miss 4. President Bozo Runs the Show 123496796!
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5. Six (Feet) Is The 6. Many Have Died 7. There is Economic Luckiest Number Devastation
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TO BE
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8. There is Anger and Violence 9. A Proverb of Our Times 10. When the Pandemic is Over (Tree of Life)
9 Dead to Me
Patty Grau
My art, whether 2D or 3D, is a concept realized. / think a lot. I ponder.
I feel. Hurt and grieve. See and have joy. Hear and laugh and sing. I challenge myself considering the most effective way to communicate an idea, a feeling, a sense. It's not always pretty, much like feelings, are not for the faint of heart. I've been told my art is dangerous. Isn't that funny that feelings can be that way. Don't be afraid, art won't hurt you. 10 - Ru,
Ghost Ocean, Invisible Fish
Patricia Liverman
Drawing on maps, topographies,
and geological events, my work
contemplates the changes that occur
due to the passage of time and the
ruptures, shifts, and forces that shape
our present landscape.
I'm interested in uncertainty,
states of being that may be less
permanent than they appear, and the
readjustments that occur in response
to forces outside our control.
Balance
11 Beth Shibata
My work often negotiates the
boundaries between light and
shadow, art and science, language
and image, imagination and reality.
This stems from a deeply held
belief that everything is profoundly
connected. These boundaries are
highly porous and the interplay of
ideas that thread through them
often reveal patterns of varying scale
and weave new and unexpected
interconnections. This gives the artist
and the viewer ways to explore and
consider novel possibilities.
In this exhibit, we have a turn on
traditional ekphrastic poetry, poems
that respond to a piece of art. Here
the task was reversed: create images
that respond to a poem. This is the
kind of project that inspires whimsical Sky within Sky
elements. Perhaps not surprising, the poems selected and works they inspired are intended to be simultaneously play-ful and thought provoking.
The images respond to the subject and its subtext which form implications / drawn from the poetic text. The resulting work encourages the the viewer to discover and create their own narrative, interpreting the work as a related visual poem.
Bernard Fallon
Kites
Jonathan Chaves
These are the kites
they slice the blue air
like knives
their lines
swell with the wind
as they bow to each other
and rise again.
They strive with the birds
to see who can fly higher
but sometimes fall
clutched by trees like dragons.
The children play with them
and know they are alive
when they flutter
in the wind
etching their lines of memory
against the clear sky.
Kites
12 Karena Massengill
We are witnessing the loss of Birds and other wildlife.
My words reference these ideas incorporated in the background with the line work and mixed media on the length of watercolor paper attached to the 3 sides of the walls, embracing the steel and mylar installation. Linear steel sculptures have slow, turntables and lights that project their shadows along with the small birds, feathers, and mirrors. The installation environment is alive and active. 13 Paul Anderson
My artwork
process transforms
photographs into complex
images that very loosely
resemble the work of
early 20th century cubist
painters. The process uses a
personally written software
algorithm that puts a
modern twist on this classic
artistic style.
Certain poets were
associated with the cubist
movement, and in 1995
L.C. Bruenig compiled a
lengthy anthology of this
poetry called The Cubist
Poets in Paris. I chose two
poems from this book as
inspiration, one dark and
haunting and the other
witty.
The first selection was
written by Chilean poet
Vicente Huidobro. He Inside the Hotzon
published a book of poems SOMEONE WAS SINGING
The Voice
called Horizon carré (Square Is not known
WHERE DOES IT COME FROM
Horizon) in 1917, and
from this book I chose the Among the branches
No one is to be seer
poem Nouvelle Chansons
(New Song). The second The moon itself was an ear
selection, The Sun is in the And one hears
no sound
Staircase, was written by the
French poet Pierre Albert- However
a star unnailed
Birot in 1924. It is in the Has fallen into the pond
form of a "Poem Placard," THE HORIZON
and was originally published HAS CLOSED UP
in La Lune ou le livre de And there is no exit
poèmes, in Poésie.
- Vicente Huidobro
New Song
14 Love Song for an Apocalypse
Laura Leigh is a self taught artist living in Redondo beach. Her work is heavily influenced by poetry and literature- From Murakami to Henry Miller, Hesse to Camus, poets like Ada Limon, Mary Oliver and Dave Lucus who wrote " Love Poem for an Apocalypse " - which inspired the beginnings of these paintings. This poem describes living in this modern world tittering on collapse. The collapse of an empire and how to rebuild. It's a poem about uncertainty and uncovering, and maybe something about the necessity of endings. She uses animals to depict ideas of what it's like to be free. The birds and horses also represent a symbiosis with the breathing land and all the things that inhabit it.
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It aint me Katie Elizabeth Stubblefield
The lottery scratcher, a tangible embodiment of hope and chance, serves as the central motif in this exploration of fortune's arbitrary hand. Echoing the sentiment of Creedence Clearwater Revival's "Fortunate Son"-an anthem of disenfranchisement in a draft- laden time-this work contemplates the inherent inequalities dictated by the "luck of the draw": race, class, sex, and social station. Gambling tools become a frantic language, representing our persistent yearning for an improved reality. Within this installation of discarded, losing scratchers, genuine winning tickets are strategically placed, acting as irresistible enticements.
This deliberate inclusion invites viewers to participate in a search that mirrors our collective aspiration for upward mobility and a more favorable turn of fate.
16 Fortunate Son
Creedence Clearwater Revival
Some folks are born made to wave the flag
They're red, white and blue
And when the band plays "Hail to the Chief"
They point the cannon at you, Lord
It ain't me, it ain't me
I ain't no senator's son, son
It ain't me, it ain't me
I ain't no fortunate one
Some folks are born, silver spoon in hand
Lord, don't they help themselves, yeah
But when the taxman comes to the door
The house look a like a rummage sale
It ain't me, it ain't me
I ain't no millionaires son, no, no
It ain't me, it ain't me
I ain't no fortunate one
Yeah, some folks inherit star-spangled eyes
They send you down to war
And when you ask 'em, "How much should we give?"
They only answer, "More, more, more"
It ain't me, it ain't me
I ain't no military son, son
It ain't me, it ain't me
I ain't no fortunate one, one
It ain't me, it ain't me
I ain't no fortunate one
It ain't me, it ain't me
I ain't no fortunate one
17 Order and Chaos Life Cycles
Lynn Lee Wong
The general pursuit of the artist is depicting the sublime, not only in basics like nature and math but also in pop culture.
Ms. Lynn Lee Wong is liberal in utilizing math, pop imagery, and non-traditional art tools such as jigsaw puzzles. She integrates symbols, pop culture imagery, and the creative process. People work with information via language and
symbols, ex: numbers, graphs, and visuals 2D or 3D. The artist work with applied paint in between rectangular wood pairs and rotated the pairs about a nail holding them together (see video on website). The nail position is varied based on equations of the line (in the Pigment Series) and the circle (in the Sun series). The combination of opposites is a theme. She chose colors from the presence and absence of light, color pigments of human skin, and the changes of color in a life cycle from birth to death. The chaos of viscous paint and the order of math, irreversibly unify. Through painting, the artist explores unexpected deep meaning and expression about our relationship with the world, nature, and what lies beyond. 18 Did Eve Scream Like That?
A Spoken Word piece written and to be read/performed by Coco Cabrel, ©2024 Ba-dum. [to the "Jaws" theme] A great white. "Get. Out. Of My Garden." But the woman giggles because
Ba-dum.
the fruit entices her snake-y nostrils;
A snake.
A woman, without blemish and free. and with her white teeth's first bite, she'd never felt such might
A great angel. delight
Oh, no, "God, help me" - a fake. in its win over her God.
The woman giggles, There's no scream just yet. Just silent confusion; she loves the chase.
Grandiose delusion, Contemptuous derision,
It's all so innocent, A predator's sonar vision - The devil's subtle precision. nothing could ever erase
Ba-dum, ba-dum, Ba-dum, ba-dum, Ba-dum, ba-dum
the Face [getting faster] Too much knowledge
of her God.
explodes the woman's brain As her guts fill the jaws
Ba-dum... ba-dum.
But there's a great white in the water, of the evil one's shame.
Oh, God help me, now the screams start
in the grass -
a snake. as she sees Death for the first time.
In the dark, a great angel, lurking -
The Fake. The woman clings to a buoy; Eve clings to Eden's gate.
A whole generation knows the two tuba notes that But it's too late deeply plead: to unseal her womb's fate with desperate debate "Get. Out. Of the WATER!" But the woman giggles Because God doesn't DO that. because
All the woman has left,
the water caresses her godly skin; as the creature silently and without the knowledge of good and sin, she
doesn't see the fin chuckles
begin
to rip her from her God. is a blood-curdling "GOD! HELP ME!" Shwhhweh.
A thousand generations know the pain from the
flaming Be still and know.
Ba-da-dah! ["Jaws" theme ending]
sword that flashes:
Did Eve scream like that?
19 Mike Saijo
I had just moved to Redondo Beach in response to my new environment il wanted to make a series of the beautiful trees at Veterans Park.
One unusually foggy late afternoon, I realized that this was the perfect time to capture these photos before the sunsets. I grabbed my camera and rode my bike to the park and took these photos.
The fog was super dense, it blocked out everything distracting in the background, I enjoyed seeing less, and simplifying the image. I love the fog because it reminds me of my foggy memory and focusing on what's in front of me.
Trees of Redondo Beach
20 The Long Street #1
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The Long Street #4
Louise Ivers
For this exhibit, the "Reimagined Poetry Invitational," I created a series of four digital photographs that were inspired by Lawrence Ferlinghettis "The Long Street." This poem talks about the universal street of the world where everyone exists. My photographs, which were altered to give the effect of grainy black and white film, portray old business signs on busy streets that date from the mid-twentieth century. I try to go beyond mere photographic documentation and create a sense of poetic nostalgia in my work. 21 Joy Ray
In 2024, artist Joy Ray relocated from a
remote tropical island to Lincoln Heights, a
gritty urban neighborhood where multiple
freeways converge near downtown Los
Angeles. Her experience of the ocean,
once a daily part of her life, became distant
and hallucinatory, increasingly informed by
memory and imagination. Ray investigates this
psychological-sensorial shift in a new body of
work.
Ray's new textile sculptures represent
significant developments in her practice.
Here, she leaves behind her previous black
and white rectangular weavings for fluid,
jutting textile assemblages in a brilliant
swimming pool blue. These soft sculptures
curl and hang, hogtied and splayed, languid
and unsettling. They are shapeshifters,
evoking images and meanings that refuse to
linger or resolve, like flashes from a barely-
remembered dream. The forms appear both
seductive and dismembered, piscine and
metallic, invitingly tactile and disturbingly
alien. Mounted on razor-sharp fish hooks and
fishing line, and accompanied by video and
audio interventions, the installation suggests
a parafictional environment that is part natural
history museum, scientific laboratory, and
abattoir.
Across the surfaces of these works Ray has
painted fragments of text from Adrienne
Rich's 1973 poem, "Diving Into the Wreck."
This work posits the ocean as an altered state
of consciousness where identities, genders
and even species blur and multiply. These
menacing and ambiguous waters reveal more
profound realities: "the wreck and not the
story of the wreck / the thing itself and not
the myth. " Like Rich's poem, Ray's sculptures
consider what it means to descend into an
unknown abyss, to discover lost histories, and
to confront the aftermath of violence.
Entangled with love and loss, Ray's
imaginal ocean takes on mythological and
psychological dimensions, revealing itself as a
vast unknowable realm embodying both the
beautiful and terrifying aspects of the sublime.
the ribs of the disaster
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23 Off the grid
Melinda Barth
My appreciation of ceramics was acknowledged early I have retired after more than 30 years of teaching in my second year at the university of illinois. I asked English at el camino college and an equal number of my advisor to affirm my course selections before / Years as a potter. I have no regrets for this balanced headed to the armory to register. My course requests And fruitful life. included 'Ceramics 101,' to which Dr. Squire replied,
"you are an english major. You must intend 'chaucer' "Reimagined poetry" has inspired me to unite my as your elective." "No, i replied, "ceramics, " to which Professional and aspirational joys and i have done so he repeated "chaucer." Nevertheless, i registered for By imagining in clay both robert frost's poem "design" ceramics, and he and i remained cordial for the five And jasmine lawrence's "off the grid." additional years of my BA and MA studies in literature
and rhetoric.
24 S. O. U, L,
Soul
Debbie Collette
The Poetry of Life
Dance. Heart. Soul.
Words that speak to me in the poetry of life.
The rhythm of the dance, my heartbeat to the soul.
Capturing a connection deep within me. I move to the sound. 25 Look! The Trees Burned Down, Now I Can See
Eileen Oda Leaf
Creating art is like writing poetry in pictures with my intention of infusing beauty with emotion inspired by
nature through the use of emotive color.
In 2018, I created a new style of oil painting!
coined, exsculpainting: 3-D oil on hand-cut canvas/
es, sometimes underneath or on the backside. /
have made landscapes, portraits and food art
exsculpaintings that have been juried into exhibitions
at art centers, museums and galleries where they
have been seen and have found homes with many
collectors.
When painting impressionistic 2-D paintings, / want to
express a profound love of nature, of how all things
are interconnected and allow light and color to allow
you to experience what words cannot seem to say.
26 Holly Boruck
This painting reflects my investigation of color,
abstraction and nature. I think of this painting
as visual poetry where color, abstraction, rhythm
and complicated shapes form a playful whole.
I'm interested in creating harmony, balance
and emotional connections to a sense of place.
Eliciting inspiration from nature's patterns and
motifs, my hope is that this work will create an
evocative pathway, taking viewers on a magical
journey.
Landscape Obscura- 16
27 Anu Kumar
A Cohesive Journey of Feminine Identity
The three pieces submitted-Grounded, Branching
Out, and Tree Within-are intended to be
experienced as a unified poetic exploration of the
multifaceted journey of womanhood. Together,
they form a narrative arc that examines hope,
struggle, and the complex interplay of ambition
and responsibility. Each work offers its own voice,
yet they resonate in harmony to evoke a deeper
understanding of identity, freedom, and resilience.
Grounded serves as the prologue to this journey.
This abstract painting, interwoven with words of
hope and feminism, reflects the solid foundation of
strength and self-awareness. It invites the viewer into a space where optimism and empowerment radiate,
grounding the narrative in the ethos of feminine
fortitude.
Branching Out portrays a woman confronting the
challenges of growth and transformation. The Grounded
branches erupting from her represent both the beauty and pain of personal evolution-the reach for something greater that is often accompanied by hardship. The final piece The tree In Me, This piece gives visual form to the tension between freedom and the trials that can fracture one's sense of self with what is considered by society as good such as 'roots' and domestic and social responsibilities.
Karen Baughman
I am a Southern California contemporary artist
drawn to the quiet mystery of the ocean and
the delicate power of orchids. My work invites
viewers to step into a world where emotion and
imagination take the lead. My ocean-inspired
works explore the emotional spectrum through
calm, meditative tones anchored by a horizon
that always holds something just out of reach,
not discernable, yet creates images that may
be connected to conscious or subconscious
memories. Whether evoking dreamscapes or
merging contrasting worlds, each orchid piece
carries an edge, sometimes soft, sometimes
sharp, allowing space for personal narratives to
unfold. Influenced by both street art and fine art
traditions, I believe they can not only coexist, but
enhance each other - much like the unexpected
layers of life / aim to reflect in every piece.
Two Orchids embrace,
spray can love on Concrete fades,
hues drip, time dissolves
Fading Words
28 Alexis St. John
I create worlds. The locations are
unconventional, playful, and slow of
pace. They offer viewers an escape
from the mundane. They are inspired
by dreams and meditations.
My latest body of work is painted on
a ground of sand. I like the look of
the textured surface, as well as the
symbology of sand. I mix the oil paint
from scratch, using earth pigments and
walnut oil. It's important to me that the
materials I use are non-toxic and as
earth-friendly as possible.
My work is a manifestation of the
qualities, values, and priorities / wish
to see in the world. We become what Star Bridge
we put our attention on. The paintings
are a gentle reminder for us to keep
growing.
Patrice Linnett
The Poetry of Life
Thrive. Shine. Hope.
The impact of words, spoken,
written, or even just thought, hold
power. If we listen or pay attention
to certain words, they can have the
ability to depress us, to make us
feel emotions, to educate us, to lift
our spirits, to elevate us.
These three words are words
that have shaped my outlook on
my circumstances, my life, my
being. Be mindful what you say to
yourself; you might be listening.
Thrive
29 ..°
Linda Price
The Lunatic Shields protect because
Change is the only constant
Black and White
Lunatic Shield 2 are not viable
when shades of Gray prevail
Nothing is black or white-Linda
Sue Price 1980 —Nelson Mandela!
1990
This is my inspiration and I wrote it.
Lunatic Shield 7
30 Amy Lyu
This painting, titled Yes, I Can Finally Say NO, stems from a deeply personal place. I've always struggled with saying no to people, to situations, even to things that didn't align with my values. Over time, I've come to realize that "no" isn't necessarily negative; in fact, it can be a powerful act of self- care and clarity.
That's why I chose to express "NO" in bright, joyful pink balloon letters — a celebration rather than a rejection. Saying no can mean setting boundaries, choosing peace, and standing against unkindness, violence, and negativity. It's a freeing word.
The contrast continues in the presentation: the modern image is housed in a traditional gold frame, reminiscent of an old master's painting. This contradiction between form and content is intentional — it elevates a contemporary message into something timeless.
The Invitation by
Oriah Mountain Dreamer.
It doesn't interest me what you do for a
se
living. I want to know what you ache for
and if you dare to dream of meeting your
heart's longing.
It doesn't interest me how old you are. I
want to know if you will risk looking like
a fool for love, for your dream, for the
adventure of being alive.
It doesn't interest me what planets are
squaring your moon.
I want to know if you have touched the
centre of your own sorrow, if you have been
opened by life's betrayals or have become
shrivelled and closed from fear of further
pain.
I want to know if you can sit with pain, mine
or your own, without moving to hide it, or "Yes, I Can Finally Say NO" fade it, or fix it.
I want to know if you can be with joy, mine or your
own; if you can dance with wildness and let the ecstasy It doesn't interest me to know where you live or how fill you to the tips of your fingers and toes without much money you have. cautioning us to be careful, be realistic, remember the I want to know if you can get up after the night of grief limitations of being human. and despair, weary and bruised to the bone and do It doesn't interest me if the story you are telling me is what needs to be done to feed the children. true It doesn't interest me who you know or how you came I want to know if you can disappoint another to be true to be here. to yourself. If you can bear the accusation of betrayal I want to know if you will stand in the centre of the fire and not betray your own soul. with me and not shrink back.
If you can be faithless and therefore trustworthy. It doesn't interest me where or what or with whom you I want to know if you can see Beauty even when it is have studied. not pretty every day. And if you can source your own I want to know what sustains you from the inside when life from its presence. all else falls away.
I want to know if you can live with failure, yours and I want to know if you can be alone with yourself and mine, and still stand at the edge of the lake and shout if you truly like the company you keep in the empty to the silver of the full moon, 'Yes." moments.
31 Astrid Francis
I'm a non-representational painter. I do not have
the desire to draw real life objects, unless they
are represented in an abstract format. I prefer to
express myself with color, texture and rhythm, in
the hope that my composition is "suggesting"
an object, which makes up an abstract painting.
I consider painting an exercise, in which one is
open to the unexpected, a surprise, if you will,
driven by more than one decision as to what to
keep and what not to keep. One could perceive
this process as watching a child play, starting with
an innocent stroke of a brush, leading to a process
of becoming a creational exercise, driven by color
and rhythm. This process may start out with the
search for a feeling of direction and may end up
with a totally different result than first anticipated.
Here is the experience of surprise.
The Offering
Dr. Lui Amador
This piece honors my time serving in the United
States Marine Corps. In 1991, I was stationed
in Okinawa and Mt. Fuji, Japan. While I was
there I became fascinated by the history and
legacy of the Japanese Samurai and how similar
their warrior code of honor was to what we had
learned about being a Marine. The piece was
created using birch wood skateboard deck,
acrylic paint, and carved using a rotary tool,
chisels and sanding sticks.
Scarlette Samurai
32 Claudia Kazachinsky
Poetry has been part of my life since
childhood. As a child, I read poetry in
Portuguese, and as a teenager, I read
poetry written in Hebrew. Only much later
Moth Story did I begin to read poetry in English.
When I received the invitation for the Reimagined Poetry art show, I knew it was time to dive into "old friends" as well as get acquainted with new "friends".
In art, my two loves are portraits and figures combined with symbolism, and as / dove deeper and deeper into
poetry, I began making connections.
The poems of Emily Dickinson are filled with symbols
and beauty. Her obsession with Death gave birth to Moth Story, and her poems about nature inspired Hope Is the
Thing with Feathers.
Counting the Ways was inspired by Elizabeth Barrett
Browning, and Lenore was inspired by The Raven by Edgar Allen Poe.
The last painting I created was Lady of Shallot, inspired by Tennyson. I reimagined her in a Pre-Raphaelite style with an intricate background. In this case, the figure itself becomes the symbol.
33 Untitled Alfred Skondovitch (1927 - 2011)
Skondovitch was an abstract expressionist painter. The piece in this exhibit he created in 1954 in New York. His style later transformed to the figurative and representational, but always with abstract elements infused, a nod to his Abstract Expressionist roots and his pride in bein! part of this important American art movement. His bold and vibrant colors were likely influenced by the teachings of Hans Hofmann, who taught a "push and pull" theory, where using contrasting colors and textures creates a sense of depth and tension. This painting, Untitled #772, exemplifies the large canvases of the time. It's mostly abstract, but with discernible figures embedded in the painting.
34 Jean Shultz
Seasons In The Sun
Rod Mckuen
We had joy we had fun.
We had joy, we had fun
We had seasons in the sun
But the hills that we climbed
Were just seasons out of time
We had joy, we had fun
Becoming the Ocean
We had seasons in the sun
But the wine and the song
Khalil Gibran
Like the seasons have all gone
"It is said that before entering the sea We had joy, we had fun A river trembles with fear. We had seasons in the sun
She looks back at the path she has travelled, But the wine and the song from the peaks of the mountains, the long Like the seasons have all gone winding road crossing forests and villages. We had joy, we had fun And in front of her, she sees an ocean so We had seasons in the sun vast, that to enter there seems nothing But the stars we could reach more than to disappear forever. Were just starfish on the beach But there is no other way. We had joy, we had fun
The river can not go back. We had seasons in the sun
Nobody can go back. But the wine and the song
To go back is impossible in existence. Like the seasons have all gone The river needs to take the risk of entering All our lives we had fun the ocean because only then will fear We had seasons in the sun disappear because that's where the river will But the hills that we climbed know it's not about disappearing into the Were just seasons out of time ocean, but of becoming the ocean." We had joy, we had fun 35 F Z Wini Brewer
Q D U I see painting, poetry and music as three
G C W B branches of the same language. When I listen
Y to music I see paintings. When I see paintings /
Z U hear music. And both are poetry.
This is the language of the heart and soul, not
D the brain (left or right!) Look and listen.
It was Louis Bourgeois who said "A work of art
doesn't have to be explained. If you do not
have any feeling about this, I cannot explain to
it you. If this doesn't touch you, I have failed."
In the beginning I stare at a blank panel with no
notion of what to do. I can't imagine a finished
painting.
My process is sitting and staring at this panel.
Waiting. Sometimes for weeks and months.
Eventually a first element is placed, then a few
more in rapid succession.
Those strong first pieces will be locked in and
remain for weeks. I work around them until
one day they are gone. Quickly replaced. The
painting is altered. Better.
The painting becomes truly active. The placing
of new objects happening very fast.
"UT pictura poesis"; AS is painting, so is poetry These last decisions will be harder to make but (Horace) when they happen I feel a satisfying sensation in my heart. Suddenly it is done, finished, and
I am amazed. Where did this come from? Did /
make this strange thing? | love it. I am so happy.
I don't have a clue what it means. I only know
that after decades of painting I am painting for
me.
36 Jennifer Chan
Jennifer enjoys working in a variety
of mediums- oil, acrylic, mixed
media, pastel, watercolor and
photography. Jennifer feels art
is essential to her- as essential as
breathing. She believes in, "life is
short, make art!"
Breathe
On Living
Sam Auerli
Not the summit,
but the slope-the grit underfoot,
where ferns clutch crevices,
their small green gestures of patience.
I stop where a rock wobbles,
let my breath find the pace of trees,
the silent, unhurried life of moss.
Here, each step unspools its own weight,
not chasing, not held by anything more
than the next steady press of earth.
37 Paul Blieden
Not being a poet it took me over a dozen iterations of the haiku until I finally had something that matched the emotion of the goddess image I had taken as part of a series called the emerging goddess.
The photo is of one model as she moved during a 13 second open shutter.
Dead Poets Society Goddess
She now hides her pain
Not knowing her wise goddess
Dorothy Magallon Waits to save her heart
The Poetic response can be imagined
through many channels whether by word,
sound, or image.
It is in the reflective stage that transforms
the human soul.
38 that the baltoma
Silently
Oliveros' Earth Ears - Echos at Angels Gate
Chrisi Karvonides-Dushenko
This painting reimagines Earth Ears, the evocative opera composed by Pauline Oliveros and performed by Long Beach Opera on the cliffs of Angels Gate Park. As a fine artist and professional costume designer, the inspiration captures this site-specific performance's poetic stillness and immersive sonic environment. Rooted in Oliveros's Native sonic meditation, "Walk so silently that the bottoms of your feet become ears," the work visually translates the sensation of listening with the whole body.
39 Esperanza
Rocky Shore
Haiku by Issa:
Esperanza Deese
I'v been a painter and artist my entire life. Raised in On the Pacific, the Midwest in a home full of visual artists and writers. waves crash against rocky shores— I was constantly surrounded by creative influence the moon rides the tide. - a blend of images and language that shaped my
childhood&sual interceptions of incomplete thoughts,
now made whole.
40 In Flight
Nurit Avesar
Jennifer Sweeney
My work is process based. It is about the idea
that history is always personal. Past events
The Himalayan legend says influence our present, and our actions, or there are beautiful white birds lack of, will determine the lives of future that live completely in flight. generations.
They are born in the air,
must learn to fly before falling I start by painting with acrylic on paper or and die also in their flying. canvas. / then paste a sheet of paper on the painted surface and sand the entire
Maybe you have been born
into such a life area, repeating this process several times. / with the bottom dropping out. embed thread, cheese cloth, rust and other Maybe gravity is claiming you materials in between the sanded layers. This and you feel method is about interweaving deconstruction ghost-scripted and reconstruction. / paint and then sand the For the one,ho lives inside the fall, surfaces, digging, extracting, and building, the sky beneath the sky of all. adding and tearing away. This process alludes to the abuse of power throughout
history. It is about vulnerability, destruction
and beauty.
Birds in Flight
41 University of California Long Beach
Printmaking Program
Portfolio Organizers
Jennifer Chen and Tava Tedesco
Artist: Clovis Blackwell Artist: Lindsay Buchman
Print title: Emanation: Pas de Deux Print title: Everything I've Ever Loved Medium: Screen print Medium: Screen print
Poem: Emanation: Pas de Deux Poem: Time Is a Mother
Author: Amber West Author: Ocean Vong
Artist: Maritza Davila-Irizarry Artist: Andrew DeCaen
Print title: Atracciones Eternas/Eternity Atraccions Print title: To Hold Gravity and Time Medium: Screen print Medium: Lithograph
Poem:Eternit's Attraction Poem: How We Take Our Grief
Author: Jon J. Sparks Author: Kimberly Grey
42 Echoes of Print
explores the relationship between printmaking and poetry. Both mediums hold the power to speak truths, create change, empower communities and speak to current cultural experiences, all of which verify the human experience. In this portfolio the coming together of these dual methods of communication through the artist›s interpretation, gave rise to unique hybridization of print and written word. Artists pulled inspiration from the use of written word and explored themes such as dissidence, communication of truth and catalysts for change. This portfolio aimed to explore profound synergy between visual art and the interpretation of poetry, through visual expression and multi-layered depths of poetic interpretation, they seek to challenge the power of print.
Artist: Kiyomi Fukui Nannery
Print title: Ihatov afar
Medium: Lithograph
Poem: Ihatov afar
Author: Kiyomi Fukui Nannery
Artist: Miguel Felipe
Print title: Industrial Snag
Medium: Relief
Poem: Industrial Snags
Author: Morgan Russ
Artist: Bonny Jackson
Print title: Positively Phototatic Artist: Nguyen Ly
Medium: Etching Print title: The Human Face in an Empty Power Poem: Untitled Medium: Drypoint
Poem: Antonin Artaud: The Human Face
Author: Bonny Jackson Author: Translated by, Jack Hirschman 43 Artist: Katie Marshall Artist: Kimiko Miyoshi
Print title: Along the Road Print title: A small Boat
Medium: Collagraph Medium: Lithograph
Poem: Woodstock Poem: A morning without me
Author: Joni Mitchell Author: Mayumi Inba, translated by Kimiko Miyoshi
FIND TH3 SOURC3
Artist: Eduardo Muñoz Artist: May Roded
Print title: F1ND 7H3 50URC3 Print title: Time Thieving Medium: Screen print Medium: Cyanotype with screen print Poem: Beyond lilusions Poem: Odes
Author: Eduardo Muñoz Author: Horace
44 Artist: Nicholas Satinover
Print title: Parsing and Binding
Medium: Lithograph
Poem: A list by a 9-year-old
Author: Raymond Carver, Emily Dickinson
Artist: Jamie Russon
Print title: Mine the Undertone
Medium: Photogravure
Poem: Shadow River
Author: Emily Pauline Johnson
Artist: Edward Steffani Artist: Paula Voss
Print title: Through the Trees Print title: Swimming Through Time Medium: Screen print with inkjet Medium: Relief
Poem: Reconnaissance Renaissance
Poem: Untitled
Author: Edward Steffanni Author: Paula Voss
45 Reimagined Poetry Invitational Team
CURATOR Nina Zak Laddon
GALLERY DIRECTOR Patti Linnett
GALLERY DIRECTOR Lynn Allen
ART DIRECTOR Bob Francis
EXHIBITION CATALOG Jean Shultz
TREASURER Jane Diehl
ADVISOR Susan Lapin
PUBLIC RELATION Michelle Laddon
INSTALLER Larry Rubin
NORTH GALLERY MANGERS Peggy Sivert, Lynn Allen
EAST GALLERY MANAGERS Karen Baughman, Anu Kumar
SOUTH GALLERY MANAGERS Dellis Frank, Esperanza Deese
HORIZON GALLERY MANAGERS Patty Grau, Melinda Barth
WEST GALLERY MANAGERS Astrid Francis, Claudia Kazachinsky GALLERY ASSISTANT Bernard Fallon
GIFT SHOP MANAGERS Sue Wood, Silvia Peluso, Margret Inauen OPENING RECEPTION Nan Wilson, Jennifer Chan, Ann DuPuy
SECURITY RUHS ROTC
Arts
Feleride of Tedunde Resch Arn
Friends of Redondo Beach Arts Thanks The City of Redondo Beach for its continuous support of the Arts.
46 Lovers on Aran
Lovers On Aran
Bernard Fallon By Seamus Heaney 1939-2013
The timeless waves, bright, sifting, broken glass,
Came dazzling around, into the rocks,
Came glinting, sifting from the Americas
To possess Aran. Or did Aran rush To throw wide arms of rock around a tide That yielded with an ebb, with a soft crash?
Did sea define the land or land the sea?
Each drew new meaning from the waves collision.
Sea broke on land to full identity.
47 On a coffin ship I came here
Katie Stubblefield
Drawing inspiration from The Pogues' lyrics, "On a coffin ship I came here, " from the classic song "Thousands Are Sailing, " this project explores themes of forced migration and cultural resilience. The song evokes the experiences of Irish emigrants seeking refuge and a fresh start, yet holding onto their cultural identity. This narrative of fleeing one's homeland for safety and clinging to one's roots is a recurring motif throughout history and continues to impact lives today. Stubblefield visually articulates this by using real sailcloth, directly referencing the act of "sailing." Upon this surface, rendered in acrylic, are images of rigging from Irish coffin ships, juxtaposed with the contemporary lines of telephone, internet, and cable that crisscross the sky above the artist's dwelling. The artwork is completed by depictions of sea and sky, all suspended on the wall. 48 I can saluty carry
in run
I can party og taw oar's
i can looK outer the
Windoin
Dellis Frank
Iwant he murdered
I cin askior how
I can relax to
See Me Ican tave a celfhiéne.
I can go ta Ch
I carry the weight.
Of melanin mistaken for
menace.
Of mourning made routine.
Of names chanted,
and then forgotten.
Can go HAG
I canstand neat up mcar i
I am not a shadow.
Not a suspect.
Not a statistic.
Camask police a question
I am a mother.
A maker.
A memory in motion.
1 can take one mywallet
See me -
not the fear.
See me -
not the fiction.
can leave a part
See me. Ican sell cbs
i can read alid
Ican shies