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Justin Duyao is an art writer and editor based in San Diego, CA. He holds an M.A. in Critical Studies from the Pacific Northwest College of Art and has been published by Variable West, HereIn Journal, Contemporary Art Review, Los Angeles, Southwest Contemporary, Northwest Review, and The Clackamas Literary Review, among others.
Minga Opazo (b. in Chile; lives and works in Ojai, CA) is a fourth-generation textile crafter who explores the relationship between climate change, contemporary textile production, and Chilean textile history and design. Born in Chile, Minga immigrated to Los Angeles at the age of 16 where she recently completed her MFA at CalArts, following a BFA from UC Berkeley. Opazo questions the textile industry by creating a series of cultural works that explore the idea of solastalgia, a term which describes the mental or existential distress caused by environmental change and living in an era of excess, constantly consuming and throwing away.
Christiana Updegraff is a cross-discipline 3-dimensional artist, born in Louisville, Kentucky in 1979. She completed her MFA from San Diego State University in 2011. She received her BFA in 2007 from Kent State University. Christiana has maintained her studio in Los Angeles and San Diego for the last 15 years. During this time she has been creating and exhibiting work nationwide, as well as teaching Fine Art in higher education in Southern California. >> exhibition pdf from her recent show at Oolong Gallery with Alexandra Carter
Peter Stearns (b. 1945, Woodland, CA; lives and works in North Vista, CA). After 30 years in hiding, Stearns' new figurative paintings explore floating shapes, geometry and rural CA living in surrealist tropes. Peter Stearns' body of work spans four decades and merges autobiography, fantasy, and whimsy with sardonic and spiritual humor, imagery, and themes. As an autodidact painter, the formal possibilities of his art work can be traced back to Second Generation Bay Area Figuration painting — from the influence of Peter's time well spent there at the peak of Haight Ashbury counterculture (1968-1972) but not associated with any formal painting movement.
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