• Heat Wave opens at Guerrero Gallery on August 18, 2018

    Binder of Women presents – Heat Wave & Reaching Point Break

    Opening Reception: Saturday August 18th, 6-9pm 
    Exhibition Dates: August 18th – September 15th 

    Binder of Women is excited to announce Heat Wave it’s first collective show in San Francisco, and Reaching Point Break, a concurrent show curated by members of Binder of Women at Guerrero Gallery in San Francisco. Heat Wave and Reaching Point Break reflect Binder of Women’s intent to highlight a growing number of important artists. These side by side shows allow Binder of Women to present multiple iterations of work and foster an continually evolving roster of Binder of Women affiliates/participants/artists/cohorts/comrades(?).

    Heat Wave features work by artists Michelle BladeClaire ColetteYasmine DiazJamie FeltonKysa JohnsonLindsey LyonsBruna MassadasMaysha MohamediErin MorrisonLaurie Nye, and Anna Schachte. Referring to the new wave of feminism as well as the pattern of weather which deviates from the norms of the specific climate, this Heat Wave brings a slew of Los Angeles artists to the cooler environs of San Francisco for this summer show.

    Reaching Point Break features work by artists Rema GhuloumKristy LuckChinwe OkonaSarah Thibault, and Ginger Wolfe-SuarezPoint Break is surfing terminology for the moment when a wave breaks after hitting a point of land jutting out from the coastline, creating an almost perfect surfable wave. The selection of artists above create work that in some way refers to hitting a point of transformation from one phase to another, personally, collectively, and/or in nature. Reaching Point Break will take place in a gallery adjacent to the main gallery.

    Binder of Women (BOW) is an artist-run project comprised of artists Hayley Barker, Michelle BladeClaire ColetteJamie FeltonKysa JohnsonLindsey LyonsBruna MassadasMaysha MohamediErin MorrisonLaurie Nye, and Hilary Pecis.

    Conceptualized in Los Angeles in 2017 by painter Hilary Pecis, BOW is an independent platform for contemporary artists to share their work. This is a unified move to empower female artists, expand their reach, broach the topic of equality and consent in the art world, and take action to grow the number of works by female identifying artists in contemporary art collections. BOW’s inaugural project was a collective folio of limited edition works on paper by each of the ten establishing artists. A folio release party was held at The Pit, Glendale, CA, in December 2017, and a limited number of folios are still available at


    Today we’d like to introduce you to Maysha Mohamedi.

    Every artist has a unique story. Can you briefly walk us through yours?
    I am an Iranian-American artist. I grew up on the California Coast in a small town called San Luis Obispo. I come from a long line of creative people: my grandmother is a painter and my mother is a designer; my father can build anything. My first language was Farsi – a language rich in metaphor and poetic suggestion – thus the lens with which I first interpreted the world greatly amplified the already-psychedelic point of view of a child. Representing an internal world (my own, my gender’s, my species’) in abstract and unexpected ways, primarily through paint on a canvas, is the long-running thesis of my studio.

    Please tell us about your art.
    I make large-scale, colorful, abstract paintings that include illustrative and representational moments. Formally, I pull inspiration from the iconic calligraphic line of my native language of Farsi. The content of my work is drawn from what I know to be true in my everyday life: the experience of being a woman, mother, wife and Iranian in my American world. My work originates out of a deep connection with myself, but I make this work for the people.

    Given everything that is going on in the world today, do you think the role of artists has changed? How do local, national or international events and issues affect your art?
    Artists have a unique power to explore, provide commentary and elicit engagement around social and cultural issues with more flexibility in intention and execution than a journalist might; it’s not a new responsibility. I primarily make abstract work that can be influenced by our current political climate, however sometimes I will punctuate this abstraction with an explicitly political sculpture. For example: my recent sculpture “Surfing the Apocalypse” shows four different deadly dinosaurs surfing a great wave. Each dinosaur is painted in colors and patterns symbolizing the flags of the following four countries: North Korea, Russia, Iran and the United States.

    How or where can people see your work? How can people support your work?
    My solo show opens at The Lodge in Los Angeles on September 8th, 2018.

  • EXHIBITION: Airtight Garage, opens 03/17/18


    Featuring Hayley Barker, Fred Burton, Spencer Carmona, Andre Ethier, Brian Fahlstrom, Helen Rebekah Garber, Rema Ghuloum, Jade Gordon, Jasmine Little, Kristy Luck, Max Maslansky, Adam D. Miller, Maysha Mohamedi, Aaron Morse, JP Munro, Laurie Nye, Jennifer Rochlin, Erin Trefry, Tyler Vlahovich.  An opening reception will be held March 17th, 2018, 6pm – 9:30pm.

    In 1976 The Airtight Garage, conceived by French cartoonist Jean Giraud aka Moebius, began appearing as a comic strip in the French magazine, Métal Hurlant. The garage refers to an asteroid contained in the constellation Leo, which houses a pocket universe of developing worlds, overseen by a space colonist. Collected into a graphic novel, Airtight Garage has been described as a “map of creation”, which goes beyond world-building to explore the creative act itself. The fantasy world of the Garage accommodated any idea and welcomed any representational style of self description.

    Like the interstellar garage, holding an interconnected multiverse, the artists assembled for this exhibition represent a microcosm of visionary modalities. Each has developed a singular vision and created a new world born from various experiences and influences such as primitivism, psychedelic abstraction, and neo-symbolism. The artworks range from sculpture, painting, and drawing, and convey shifts between fantasy and reality. By being so thoroughly concerned with the worlds they describe these works create an interesting tension at the fringe of the contemporary art sphere, while being wholly modern in their timeless abandon.

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