Deck the Halls with Art that's Jolly

Festive art from the Pacific NW, Cuba and Ecuador

November 20-December 31, 2010
Opening and artists' reception - November 20, 6-9 PM
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4
(closed November 25-26 and December 25-26)

Digital poster "Margin" by Tim Krause

Painting "Poppies" by Maureen Andrade

Painting "Arrow" by Layla Elam

Mask "Recognition" by Brita Gould

Everything Dead is Alive Again

Celebrating the Days of the Dead, November 1 and 2

Paintings, drawings, sculptures, photographs, prints and mixed media

Latino artists from Oregon and Washington - Analee Fuentes, Cristina Acosta, Gene Flores, Alejandro Ceballos, Susana Espino, Paulina Hermosillo, Hampton Rodriguez, Roberto Herrera, Armando Olveda and Pepe Moscoso - will exhibit their work, and other artists working within the genre, including Joan Darling, Nancy Watterson Scharf, Gregory Carrigan, Clay Hoffman, Sue Burnett and Kat Keating, will also have their art in the show. Other highlights are an altar by Justine Avera and Vincent Ramirez, a shadow puppet play by Shiney Penny Productions and art from Zarco Guerrero of Mesa, Arizona.

The Day of the Dead (Día de los Muertos in Spanish) is a holiday celebrated mainly in Mexico and by people of Mexican heritage (and others) living in the United States and Canada. The holiday focuses on gatherings of family and friends to pray for and remember friends and relatives who have died. The celebration occurs on the 1st and 2nd of November, in connection with the Catholic holy days of All Saints' Day and All Souls' Day which take place on those days.

Traditions include building private altars honoring the deceased, using sugar skulls, marigolds, and the favorite foods and beverages of the departed, and visiting graves with these as gifts. Observance of the holiday in Mexican-American communities in the United States has become more important and widespread as the community grows numerically and economically.

October 28-November 14, 2010
Opening and artists' reception - October 28, 6-9 PM
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4

Children of Darkness and Light

Drawings by Mabel Astarloa Haley
Mixed media by Heidi Marie Balmaceda
Paintings by Maite Tobon

Mabel Astarloa Haley began her series of drawings called "Grunge People" as an experiment, an emotional reaction to the frustrating situation in politics. She spotlights individuals in the crowd in a dramatic way which reflects her forty years of creating sets and costumes in Argentina, France, Switzerland and large American cities. She taught in the Departments of Theater Arts at Brandeis University in Boston and Portland State University. She has also exhibited her paintings in galleries and showcases in the Pacific Northwest, including Beaverton Arts Commission shows, The High Desert Museum in Bend, Klamath County Government Center, Oregon State University, and a one person show at the BICC Gallery, Oregon Health & Science University.

Heidi Marie Balmaceda is an artist from Portland, Oregon. As a little girl she spent time with her family in Chile and Colombia. Her Latin heritage lends itself to vibrant and rich colors in her artwork. She studied at Portland State University and has lived in the area for the last 30 years. Her current pieces are metallic acrylic paints layered with metal leaf pieces. It is a technique she developed over the last few years. Due to the nature of the materials used and their application, no two works are alike. Unique in their patterns of heated foils and designs, they change as the light around them changes, from softness and depth to brilliant flashes.

Maite Tobon brings an energetic, vibrant and simplified view of figures from her native country Colombia. She immigrated to the United States about fourteen years ago. As an artist, she has distilled her memories into figurative paintings which blend influences of the Colombian Pacific coast life and the African culture. She likes to show through her paintings a culture and life style where the people work hard yet seem to be happy much of the time. They show it through the rhythm and movement of their bodies and the vibrant colors of their clothing. They have no faces because they are anonymous people that represent a part of the world that is not easily comprehended and rarely listened to. Acrylic is her preferred medium and she uses a base of hard molding paste that gives the painting realism and movement, as well as visual and tactile effect.

September 30 - October 26, 2010
Opening and Artists' Reception - September 30, 6-9 PM
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4

Between Places and Spaces

Paintings by William Hernandez
Photographs by Pepe Moscoso

Two young artists - Hernandez originally from Peru and Moscoso from Mexico - are deeply involved in creating and sharing their vision in Portland.

Artist statement by William Hernandez:

This show is about the relationship between space and national identity. I left Peru, my native country, about a year ago and now I live in Portland. Sometimes I wonder if there is a space/time connection between here and there. How exactly does this dislocation affect an artist's work?

Because so many things have changed, I think it's very important. Portland's colors contrast with the beautiful landscapes of the interior of Peru, but the gloomy backdrop of Lima also contains magic and rituals beyond what we find in a more intimate city like Portland. These are the kinds of differences that I observe daily and I try to capture these flashes of insight in sketches for new projects that find their way to canvas.

This creative freedom is flowing through my work, putting together memories, experiences, lessons learned, friendships, achievements and feelings. The new journey that began with the "return of chasqui" connects the "national" feeling of my homeland to the "local" flavor of my so-far satisfactory stay in this place of pines, snow, rivers, people, rock-n-roll, trains, cafes, green, rain, bridges and more bridges and far off in the distance something called Peru.

Artist statement by Pepe Moscoso:

This photographic study called "En conjunto" seeks to create a visual metaphor, to find new meanings in tiny fragments of life, and, by revealing them, create an almost impossible moment. An essential element in this photographic work is the fusion of images, where each one speaks and expresses a stolen moment in the past. The greatest merit of photography is its ability to preserve those small moments, those unrepeatable fragments of life.


The main objective of this photo series is to create a new image. I seek to reveal a new and hidden perspective, an ephemeral reality that begins with its creation and ends in the moment you see it. It is a fleeting instant which is preserved and maintained in the subjective essence of our being.

Duality plays an important role in this study, as it serves to create a harmonious equilibrium between the subjective and objective, as well as a connection between realities and unrealities. It represents the place where the observer becomes the middle ground, an intersection between perception and visual representation. In this way, it generates both concrete and abstract thoughts of the image.

This study compiles images of various places such as Portland, Oaxaca and other parts of Mexico. It was inspired by a search for reality and by the photographer’s constant quest for detail.

August 26-September 28, 2010
Opening and Artists' Reception - August 26, 6-9 PM

Materials Old and New

Collages from recycled print media by Hampton Rodriguez
Sculptures in autoclaved aerated cement by Carole Murphy and students

Hampton Rodriguez celebrates his tenth year in Portland with new works inspired by the Alberta Street scene he's been part of since he arrived. The decade has been marked by increased consciousness of environmental impact, and he has created collages made from recycled printed materials for this show.

A native of the Dominican Republic, Rodriguez developed a loyal following from Bohio Studio, his Alberta Street work and exhibit space. He received his art education at the Altos de Chavon School of Design in the Dominican Republic and at t in Hillsboro. In 2004 he was the Alberta Art Hop Featured Artist with over 200 works in galleries and businesses along the street. In 2005 he was part of "People, Places and Perceptions - A Look at Contemporary Northwest Latino Art" at Maryhill Museum in Goldendale, WA. He has also painted murals on the walls of commercial businesses and non-profit organizations and created sets for Teatro Milagro's production of "Men on the Verge of a Nervous Breakdown."

Carole Murphy, raised and educated with a family of lawyers in Vermont, began sculpting at the age of 40. It was not long until the forms began to take shape, and she has exhibited her work in galleries and museums from Portland, the Oregon coast and the state of Washington to Santa Fe, New Mexico, Scottsdale, Arizona and Burlington, Vermont. She is president of the Pacific Northwest Sculptors Guild.

What distinguishes her current work is the experimentation with a unique material, Autoclaved Aerated Cement. Although created for the construction industry, AAC is perhaps even more ideal as a sculpting medium. Yet there are only a few artists who have discovered it. Even though the artistic use of the material is in its infancy, AAC outperforms many other well know and widely used alternatives.

Murphy talks about the creative process with this new material. "My work is leaning at this point towards sensual organic forms, and this material has assisted me in traveling far from the genre I began with. At the very least, it has made my journey here more straightforward. I look forward to seeing what is possible for others and the directions they travel to."

Some of the "others" using the material are sculptors who have taken classes with Murphy. Their work will also be part of the exhibit.

July 29-August 24, 2010
Opening and artists' reception - July 29, 6-9 PM
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4

Costa Rican women artists coming to Portland

Earlier this week, four women artists of Grecia, Costa Rica's Jadeazul Artist Guild, arrived in Oregon sponsored by the local affiliate of Partners of the Americas. Raquel Mora, Jeanette Trejos, Rosemeri Vega and Sonia Alfaro are visiting several cities and exhibiting over twenty pieces of their art (and paintings by Magda Córdoba) which are available for purchase.

They will be showing their work at Onda Gallery (2215 NE Alberta, Portland) one day only, Saturday, July 10, 3-8 PM, and we invite all those who appreciate Latin art to welcome them.

The artists are donating proceeds from their work toward two Partners of the Americas' projects— "Wheelchairs for Children" and "La Casita," a neighborhood health clinic in San Jose co-owned by members of Partners of the Americas in Oregon and Costa Rica.

Come meet the artists and enjoy the art, food, drink and music on our patio.

Place and Imagination

Paintings by Alberto Soriano
Paintings by Joan Darling

Inspiration and imagination are essential ingredients in any artist creation. Alberto Soriano and Joan Darling have been inspired by two cultures - Soriano's Andes and Darling's Mexico - and they fired up their imagination to create the vivid paintings in this show.


Claudio Alberto Soriano was born in Cuzco, Peru, and has lived and worked in Ecuador for twelve years. He studied in La Escuela Superior Autonónoma de Bellas Artes Diego Quispe Titto in Cuzco. The themes of his paintings are inspired by the Inca symbolism of his native country, transformed and enhanced by his experience in Ecuador.


Since 1979, Soriano has had 18 individual exhibitions in Peru, Ecuador, Switzerland and Chicago, and has participated in more than 20 group shows. He is represented in collections in Buenos Aires, Lima and Chicago, as well as in major Ecuadorian cities.

This is the first Portland show of Soriano's paintings and he will be present at the opening.

Joan Darling began painting and drawing at a young age in Michigan. In adulthood she relocated to Oregon where she studied art at Portland State University and Clark College in Vancouver. Before retiring, Joan began to enter art shows in Oregon, Washington and Arizona. In this arena she has received several awards in juried shows.


Darling traveled to Mexico several times to paint in colonial cities such as Guanajuato, San Miguel de Allende, Morelia, Patzcuaro and Taxco. In these stunning settings she was inspired by the murals and paintings created by Mexican artists such as Alfredo Zalce, Diego Rivera, Jose Clemente Orozco and Jose Chavez Morado.


Some of the Hispanic-themed paintings Darling will display at Onda were created from on-site drawings or watercolors. Others are a composite of memory of a particular place and imagination.

June 24-July 27, 2010
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4

Totemic Power

Sculptures by Patricia Mahan
Paintings by David Wien



Patricia Mahan is a found art assemblage artist doing figurative sculpture. Her media are primarily mixed metal, wood and clay. As she describes her artistic process, "Some of the assemblage sculptures come together quickly and easily. Other times weeks and months go by before the right piece brings itself together. What [I] love is finding something and looking at new ways to use it, giving it a new life and purpose with a new meaning. Transforming the objects demands a playful imagination and the constant challenge of opening the mind to see it in a new and different way. When an object begins to develop a presence, a kind of totemic power all its own, that is when we know it’s close to being completed."



Mahan was born in Beirut, Lebanon, of American parents. She studied and performed flamenco dance but. after a debilitating car accident, she turned her talents to visual arts. Her work has been shown in Bordello Gallery and Galeria Atelier and Gallery Zoho in the Fabrica Aurora in San Miguel de Allende, Mexico, where she has her studio, and in private collections in Los Angeles, New York City, Washington, DC, Toronto, Canada, Seattle, San Francisco, Portland, and Chicago.



David Wien creates original paintings and sculptures inspired by a wide range of ethnic styles, from Native American to Latin American. Animals, birds, humans are all part of a richly patterned universe. His interest lies in exploring art as a spiritual and inspirational nutrient for our lives similar to sunshine, nature, dreaming, and loving.



Wien was raised in Vermont. After completing a BFA in Fine Art with a Minor in Art History at the Rochester Institute of Technology, David took up residence in Chicago, then Grand Rapids, Michigan. He now lives in Portland, Oregon, where he exhibits in venues such as Paseo and is part of the Together Gallery on Alberta Street.

May 27-June 22, 2010
Opening and artists' reception: May 27, 6-9 PM
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4

Damn Everything but the Circus

Paintings and prints by Deborah Spanton
Prints by Gene Flores



Damn everything but the circus!

...damn everything that is grim, dull,
motionless, unrisking, inward turning,
damn everything that won't get into the
circle, that won't enjoy, that won't throw
its heart into the tension, surprise, fear
and delight of the circus, the round
world, the full existence...

— e.e. cummings

The circus has always been a source of fascination and fear, and these two artists present the humor and the dark side in their paintings and prints. They portray the facade and magic that is involved and the need for an audience to be entertained, thrilled and perhaps fooled.

Deborah Spanton has enjoyed being an artist in many media for her entire life. She grew up in northern California and attended the San Francisco Art Institute where she studied painting. For 15 years she created fantastical original art dolls. Her work has been shown in galleries and shows in New Mexico, California, Oregon and London. In the last ten years she has again focused on painting and now printmaking has been added to the mix. She is inspired by the ironies of the real world and by the fantasies we create to manage these ironies. Deborah lives, works and gardens in southwest Portland.

Gene Flores was born and raised in El Paso, Texas. He received his BFA from the University of Texas at El Paso (UTEP) and his MA and MFA from the University of Iowa with an emphasis in Printmaking. He began his teaching career at UTEP in 1996 where he taught basic drawing courses part-time. He was hired full-time in 1997 as Gallery Director for the Department of Art and continued to teach drawing courses. He was Director for three years and then decided to move back to Iowa City, Iowa, where he taught life-drawing part-time for a semester at the University of Iowa and also worked at the Cedar Rapids Museum of Art as a Preparator. He currently lives in La Center, Washington and teaches drawing, printmaking and life-drawing courses at Portland Community College in Portland, OR. He continues to exhibit his works at various galleries throughout the country.


April 29-May 25, 2010
Opening and artists' reception: April 29, 6-9 PM
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4

Violeta Parra's Visual Art

Today I found out about another aspect of Violeta Parra's art. This seems to make the connection to our show even stronger.

Violeta color
By Rosario Mena

Since 1954, the most important of our folk singers started developing her extraordinary talent in craftsmanship and visual arts. Violeta Parra would end up making paintings, ceramics, sculptures and masks, but her most famous work is the one she did over colorful tapestries, full of shapes and colors connected to specific feelings. These creations are now part of what soon will become the first Violeta Parra Museum.

The weaving of life
In the year 1958, Violeta Parra suffered from hepatitis that sent her to bed for several months. There, in her house of La Reina, she started with the work of the "arpilleras". This was an art that she developed having no previous formal lessons, and that grew spontaneously, like her songs. One time, she explained this natural talent like this:

"Things are simple. I do not know how to design, so I invent everything. Anyone can do it. I do not know how to draw, and I make no drawing before starting with my embroidery. I just go little by little, seeing what could fit. I fill the spaces… it's the same with my paintings: they're all in my head, just like my songs. When I see that there is a sensitive person who gets some kind of feeling with what I do, then I feel at peace. I just make things in which I can put an emotion".

Familiar and historical events, popular costumes and beliefs, her passion for music; all these were the topics for her textiles. "I make an effort to show in my artwork Chile's songs, legends, people's lives. The ideas I have seem to me indispensable to express", she said.

The children funeral ceremony known in Latin America as "the angel's wake", was part of her artwork as well, the same as the struggle of Chile's peasants, who are shown in desolate laid shapes, just about to fall. Her admiration of Chilean Navy captain Arturo Prat is registered in two textiles focused on Iquique's Combat.

The several colors she used expressed each one of her feelings. There's an arpillera entitled "Against the war", of which Violeta said: "In my country there's always some kind of political turmoil, and I don't like that. In this textile you find all the people that love peace. The first one is me, in violet color, since that is the color of my name".

Her textile "The circus", for instance, recreates a scene of Violeta singing and playing guitar in a circus, with just eleven years of age (a remembrance of her own childhood). Her figure is in light green, and not violet, as usual. "This goes to express that I felt so happy singing", she explained.


"Sometimes I have the color of my name, or the green color, of happiness, or red if I'm mad and I want to make a denounce. I always use the Arauco colors as a base: yellow, black, violet, red and pink from the copihue flower".

Another one of her creations is "The man". "This one is green because of hope. His soul is music, but it tries endlessly to escape, just like a bird".

But it's not just colors which involve some kind of meaning in Violeta Parra's textiles. They are also full of symbols. Late writer Waldemar Verdugo once said that "it's surprising how Violeta uses two symbols again and again: the search for God and men. The former is represented by the repeated image of Jesus Christ, and the latter by the embroidery of eyes that can be seen in several places".

This may be the spying eyes that are also in her paintings. Violeta gave some kind of explanation, even though enigmatic: "I take advantage of the moment when I can make eyes, because it would be a complete different thing for me to jump from the head to the feet. I concentrate on eyes, and leave the feet for another time".

An autonomous artist
It was the year 1964 and Violeta Parra was living in Paris with two of her children. One morning, she gathered all her tapestries and took them to the Louvre Museum, hoping to speak with its director to propose him an exhibition of her plastic work (all handmade and self-taught). This drive was typical of Violeta, and almost always brought good results. Violeta became the first Latin-American artist to exhibit individually at the Louvre. At the time, visitors were able to see 26 paintings, 22 tapestries, some small sculptures made of wire and masks covered with grains of rice, lentils and seeds, as in a mosaic. The exhibit was announced by a poster made by Violeta herself, who embroidered over a black cloth a big eye and the letters with the information.

Only in two previous occasions, 1959 and 1960 (in an Arts fair in Santiago's Parque Forestal), had the artist shown publicly her naive, colorful and expressive plastic work. After Paris, these same pieces traveled to Switzerland, Cuba, and the Louvre again. Then came Madrid, Naples, Stockholm, The Hague, several Argentinean cities and Washington D.C. Despite such an impressive tour and the exhibit of her work in Chile, Violeta was never truly valued as a plastic artist in her native country. Or not until 1992, when, for the first time, a retrospective of her work was exhibited in a massive show of her paintings and textiles in Santiago. In the year 2000, Chile's Fine Arts Museum exhibited her paintings.

Gracias a la vida (Thanks to Life)

Paintings, drawings, textile and mixed media inspired by Violeta Parra's iconic song
Participating artists: Cristina Acosta, Reetika Agarwal, Mabel Astarloa Haley, Heidi Marie Balmaceda, Serena Barton, Marisa Bevington, Alli Bratt, Sidonie Caron, Sofia Chimaras, Gretchen Echols, Anne John, Meg Kaczyk, Rogene Mañas, Angelina Marino, Deborah Spanton, Elaine Spence, Maite Tobon, Nancy Watterson Scharf




For the first show after the Vernal Equinox, we have invited a group of women artists to respond to the lyrics of Chilean singer/songwriter Violeta Parra's "Gracias a la vida" (see text below). The song has inspired vocal artists such as Joan Baez and Placido Domingo for nearly 50 years, and most particularly Mercedes Sosa, beloved Argentinian singer who died last October. The interpretations by the visual artists are equally personal and moving. Sidonie Caron, for example is " . . . a European and a Holocaust Surivor so this poem resonates rather profoundly for me." The recent Chilean earthquake has made these expressions even more timely and poignant.




Gracias a La Vida (Thanks to Life)

Poem by Violeta Parra

Thanks to life, which has given me so much.
It gave me two bright eyes, that when opened,
Can perfectly distinguish black from white
And in the sky above, her starry backdrop,
From the multitude, the man I love.

Thanks to life, which has given me so much.
It gave me an ear that, in all of its breadth
Records— night and day—crickets and canaries,
Hammers and turbines and bricks and storms,
And the tender voice of my beloved.

Thanks to life, which has given me so much.
It gave me sound and the alphabet.
With them the words that I think and declare:
“Mother,” “Friend,” “Brother” and the light which illuminates
The path of the soul I love.

Thanks to life, which has given me so much.
It gave me the ability to walk with my tired feet.
With them I have traversed cities and puddles
Valleys and deserts, mountains and plains.
And your house, your street and your patio.

Thanks to life, which has given me so much.
It gave me a heart, that causes my frame to shudder,
When I see the fruit of the human brain,
When I look into the depths of your blue eyes…

Thanks to life, which has given me so much.
It gave me laughter and it gave me tears.
With them I distinguish happiness and pain—
The two materials from which my songs are formed,
And your song, as well, which is the same song.
And everyone’s song, which is my own song.



March 25-April 27, 2010
Opening and artists' reception: March 25, 6-9 PM
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4

Latino cultural intersection

Last week a woman came into the gallery and was looking at the current show of paintings by Blanca Santander. She pointed to one which had a depiction of the Cordillera de los Andes. I asked if she'd spent time in that part of the world and she said mainly in Santiago de Chile. When I mentioned that I had just been playing music by Inti-Illimani, she said that she was completing her dissertation on "La nueva canción chilena". I asked where she was doing her work and she replied UC Davis. "That's interesting," I said. "About four years ago I was in Santiago and, taking the shuttle to the airport, I talked to a woman who was researching the same topic. In fact, she recommended the musical group Illapu which has became one of my favorites after I bought a CD of their music at the Santiago airport." "That was probably me," she said.

Metal and canvas

Metal sculptures by J.D. Bump
Acrylic on canvas paintings by Blanca Santander



J.D. Bump was born in Portand in 1968, and grew up on a farm in Tigard. He received his first art commission at age fourteen when he was chosen to create a series of illustrated panels for a local library. His interest in art waxed throughout his years at Lake Oswego High School and he was eventually awarded a scholarship through the L.O. Country Club which was used at the University of Oregon. During his freshman year there he was admitted into graduate level art classes, and soon after began sculpting in ceramic and bronze. His last year in college was spent studying art in France where he realized how necessary traveling was in order to broaden his understanding of culture and society. Since then he's made it a goal to travel often and considers it an important way to continue his education in the arts. As an artist he strives to create multicultural sculpture with universal appeal and a timeless quality.


Bull with Human Figures - bronze sculpture by J.D. Bump

In 2004 Bump was asked to exhibit his work in the United States Embassy in Rabat, Morocco. In 2006 his bronze sculpture "Bull with Human Figures" was awarded "Best of Show" at the Lake Oswego Festival of the Arts. In 2007 he was commissioned to recreate an historic 40 foot mural for the athletic department at Portland Community College (Sylvania Campus). His work has been displayed at both the Portland Art Museum (R/S Gallery) and at the Oregon Museum of Contemporary Crafts. JD is currently busy creating in a studio close to Multnomah Village.


Originally from Lima, Peru, Blanca Santander has lived in Seattle since 1996. She received a Master of Fine Arts in painting and engraving from the Catholic University of Peru. For the last twenty years, she has worked as a freelance artist, illustrator and photographer and has exhibited her work in galleries in Washington and New Mexico. This is her first show in Portland.

Acrylic painting on canvas by Blanca Santander

February 25-March 23, 2010
Opening and artists' reception: February 25, 6-9 PM
Gallery hours: Tuesday-Saturday, 11-6, Sunday 12-4

Bubblelism - paintings by Marcio Diaz

The first Portland show of art work by Marcio Díaz, Nicaraguan contemporary artist living in Seattle, features paintings which you have to see to believe.

The technique he uses is his unique version of pointilism which he calls bubblelism. Each small pool of color is formed by concentric circles in carefully selected tones which eventually help form the larger image of the painting. That this technique is used in large scale pieces makes the achievement even more impressive.



For background on Marcio Díaz, here is his Artist Statement:

"I was born in a small farming community in northern Nicaragua. I received a Bachelor’s degree in Architecture and studied painting at the National Institute of Fine Arts in Managua, Nicaragua. I now devote my time entirely to painting. My art represents the country life; the people, nature, and culture of my country as well as the places I have lived and visited.

My experiences as a child growing up in a rural environment gave me an awareness of its natural beauty and lifestyles that I continue to cultivate today through my art. I am passionate about using bold, vibrant, rich colors in my paintings. . . . I am constantly studying art from around the world and I like to experiment with new techniques and textures.

My dream is to one day build an art school for underprivileged youth in my country as well as to promote culture and strengthen and nurture friendship and collaboration thought art everywhere I go."



January 28-February 23, 2010
Opening and artist's reception: January 28, 6-9 PM