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Sunday, April 24, 2016



water music/fire dance

New Paintings and Sculpture

Mary Paxon Art Gallery

May 10-28, 2016

Reception: May 13, 2016 / 7-9pm

Cultural Arts Center
13200 Clarksdale Ave
Norwalk, CA 90650

exhibition hours: Tues-Friday 3-7 pm/ Sat. 11-3

he's moving to the bold, to the roots of it all
each painting begins with foreplay, the proper dimensions,
there is some pacing, foxholes, crop circles, cerebral massages
grace with haiku poems, elemental tinctures, flags in the garden
commune, dance, love some more


Roy Anthony Shabla is a fine artist living in Los Angeles area.  His primary work is large-scale abstract paintings.  He is a Director of  Collections for the Downey Museum of Art and curates its exhibits.

His digital artwork and film are represented by Los Angeles Center for Digital Art.  He sits on the Advisory Boards of both Nuvein Foundation for Literature and the Arts and GlennFest, a Los Angeles are film festival exhibiting movies of special interest.

Shabla hosts a monthly gathering of artists, poets, musicians, and other creative people called the green salon.  Join the green salon on facebook for more information.

Saturday, April 16, 2016


Abel Alejandre "Public Secrets" Installation of acrylic paintings on panels.

APRIL 9- MAY 22, 2016

974 Chung King Rd
Los Angeles, CA 

ABEL ALEJANDRE, "Rodin de Cross-Hatching

Rodin dice: puedo elegir un bloque de mármol y cortar lo que no necesito." Alejandre del "bloque de mármol metafórica" funciona en sentido inverso. He observado su dibujo maestría con diversos grados de grafito. Su exhibición actual mantiene su firma rayado transversal técnicas definidas con pintura acrílica.
Alejandre emociones autobiográfico imágenes guiadas y espiritualmente. La representación de imágenes familiares evolucionan a partir de las líneas que se cruzan ferozmente como águilas construyendo sus nidos.

Las pinturas de la exposición denominada "secretos" público, parecen ser tocado por la divinidad. Alejandre comparte su lucha con su creencia en Dios. Él viene de una familia de devotos católicos. Su obra representa su formación religiosa combinado con su arte educación secular y la puntualidad en las luchas políticas de inmigrantes mexicanos. Alejandre y su familia emigró desde Apatzingan, México a Wilmington, California. Alejandre actualmente vive y tiene su estudio en Long Beach. Él me escribió: "Yo le digo a mis amigos que soy una recuperación católica. He leído todo ahora y tomar lecciones que me hablan, más notablemente ha sido Siddhartha. Ahora, yo tome la ruta de menor resistencia, excepto cuando se trata de trabajar. En ese caso, voy a ir en contra del grano en esperanzas de lograr algo grande o ser un fracaso espectacular...ambos son aceptables."

La pintura titulada "La Trinidad" que representa al Padre, al Hijo y al Espíritu Santo, también está dedicado a su padre, su hijo y él. Las patatas con los cables eléctricos se conoce como un proyecto científico de la niñez, Alejandre afirma: "Hay patatas metida en un acto carnal bajo el ojo vigilante del Padre, del Hijo y del Espíritu Santo. Se trata de mi fe o falta de ella para este asunto." La pintura habla a su espiritual-creativo-itinerario educativo-su vida. El ape podría representar la teoría de la evolución, las patatas copular, como introducción a la infancia la ciencia proyectos combinados con Kris Kristofferson y "Jesús fue un Capricornio". Eclesiastés 1:18 :" con mucha sabiduría hay mucha molestia; cuanto más conocimiento, más dolor." Alejandre crea conmovedora belleza desde su corazón y su talento y él no está solo.

by Sandra Vista

Abel Alejandre "The Rodin of Cross-Hatching

Rodin said: I choose a block of marble and chop off whatever I don't need."  Alejandre's "metaphorical block of marble" works in reverse. I have observed his drawing mastery with various degrees of graphite. His current exhibition maintains his signature cross-hatching techniques defined with acrylic paint. Alejandre emotes autobiographical and spiritually guided images.  The representational-familial images evolve from lines that fiercely intersect like eagles building their nests.

The paintings from the exhibition named "Public Secrets", appear to be touched by the divine.  Alejandre shared his struggle with his belief in God.  He comes from a family of devout Catholics.  His work represents his religious training combined with his secular art education and the timely political struggles of Mexican immigrants.  Alejandre and his family emigrated from Apatzingan, Mexico to Wilmington,California. Currently Alejandre lives and has his studio in Long Beach. He wrote to me: "I tell my friends that I am a recovering Catholic.  I read everything now and take lessons which speak to me, most notably has been Siddhartha.  Now, I take the path of less resistance, except when it comes to work. In that case I will go against the grain in hopes of achieving something great or being a spectacular failure...both are acceptable."

The painting titled "The Trinity" representing the Father, the Son and the Holy Spirit, also is dedicated to his father, his son and himself.  The potatoes with electric cables is known as a childhood science project, Alejandre states: "There are potatoes engaged in a carnal act under the watchful eye of the Father, the Son and the Holy Spirit.  It deals with my faith or lack of it for that matter." The painting speaks to his spiritual-creative-educational journey-his life.  The ape could represent the theory of evolution, the potatoes copulating, as the introduction to childhood science projects combined with Kris Kristofferson and  "Jesus was a Capricorn". Ecclesiastes 1:18 :" For with much wisdom comes much sorrow; the more knowledge, the more grief."  Alejandre creates soulful beauty from his heart and his talent and he is not alone.

Wall of Silence 2016 (acrylic on panel)

The Doctor Is In 2016 (acrylic on panel)

Baseball caps with images/ acrylic

Coagula Curatorial opening night

Wednesday, April 6, 2016





FEBRUARY 7 - APRIL 17, 2016

                                       G: " Dad why are you so dark?"

                                        D:  "Because I drank too much chocolate milk as a kid."

I wanted to begin by adding one of my family anecdotes regarding "skin".  It was triggered by an interactive piece referred to as an "educational mode".  These nodes were designed by the staff of LAMAG, including gallery educator Marta Feinstein and director Isabelle Lutterodt, as a place for "reflection"  and "dialogue".  During the opening I was too overly stimulated to sit and write my reflections in the provided sketchbooks.  The exhibition has served to impress upon me how the color of our skin begins its relevance in our family structure.  The dad in my story is my brother who was called "Prieto" by my mother.  In Spanish this refers to a dark-tan person.  It is a common nickname in the Mexican culture.  "Prieta" is for girls.  My niece "G" had just began school when she asked this question.  "Kindergarten" is the beginning of learning and maneuvering racial differences.

"Node #5" contains reflective words like: us, race, self, family, history, change, identity, and diversity, which serve as a base for the gallery visitors.  In the main gallery exist a floor piece with the phrase: "OUR LIVES MATTER".  Everyone's life matters, however, this phrase is a graphic reminder that we are all connected and feel the same kind of pain.  In the same space is a monumental wallpaper, on foam core piece, by Ken Gonzales-Day entitled "41 Objects Arranged by Color".

Ken Gonzales-Day " 41 Objects Arranged by Color"

Gonzales-Day's billboard style technique is a contemporary/pop way to reach a broader audience.  The images of sculptural busts, from antiquity, are also displayed in a familiar, academic, manner.  Most people have seen these images in their high school and college history books or on posters advertising the local museum of man.  The variety of profiles and the warm tones of the central figures, emphasizes that these artworks were derived from human beings.  The stones become flesh suspended in time.

"Skin" interpreted as shelter is presented in a site specific piece by Holly Tempo.  The long, narrow room with high ceilings, creates a vault, or room found in an ancient temple.  Tempo uses Frank Lloyd Wright's Hollyhock House, at Barnsdall Park, as the inspiration for the Mayan tile and hollyhock designs she has painted in the room.  Additionally, there are framed collages made with cardboard to symbolize the cardboard shelters runaway youth, in Los Angeles, sometimes use for sleeping.  Tempo specified the gay youth that are thrown out of their homes because of their sexual identity.  Cardboard Revival 2016, subliminally embraces the divinely inspired Mayan architectural designs with the memories recalled by the seeds of the hollyhock.  Hollyhocks are symbols of abundance, fertility, and considered "un premio de apoyo", (a prize/gift of support in the Mexican/Central American culture).  Tempo, an associate professor (painting) at Otis Art Institute, dug deeper by sharing her project with some of her painting students.  Her multicultural crew of students became artists on the job.  The message of the exhibition also exposes future artists to use their art for messages of love, understanding, remembering and reflecting our ancestors.

Holly Tempo "Cardboard Revival" 2016

Ann Le and Kaitlynn Redell's mixed-media works refer to their Asian ancestry.  Le's photo/collage works are also reflective of "home, sanctuary, and shelter" by using wallpaper floral designs to replace the people's faces in the photos. Wallpaper can serve as forms of skins in our family memories.  Layers of wallpaper in a home can attach remembrances of unity and the longevity of a family.  The floral wallpaper also reminded me of a personal experience with my grandmother's purchase of new kitchen linoleum in the late l950's.  My father laid it out on the kitchen floor and my brother and I rolled around on the floor trying to flatten the linoleum.  It is one of my favorite childhood memories.  I had permission to roll around foolishly on a Pollack splattered design long before being introduced to abstract expressionism in college.  As a visual artist Le probably absorbed patterns and colors from her family environments. 
 Memory is skin.

Ann Le and friend in front of her work.

Kaitlynn Redell exhibits two pieces, one  is an independent mixed media painting in which she uses photographs of the 1920's Chinese American actress Anna May Wong.  Imposter , a photograph from The Residents Series is the collaborative piece she shares with her creative partner of Redell and Jimenez.  Redell stated that their partnership "shares a mutual interest in the concept of inbetweeness, a space of fluidity and negotiation, where predetermined categories of the body, gender, history, and psychology are constantly formed and reformed." Redell's mother is Chinese, the inbetweeness she describes is perpetuated by people asking "what are you?".  This is a question I am constantly being asked.  I can fit into many cultures, the older I get the more Asian I appear to people.  I always say: "there are all kinds of Mexicans."

Kaitlynn Redell - Supporting Herself

Redell and Jimenez- Imposter

The SKIN  exhibition combines a variety of interpretations from the obvious of skin color, to conceptual approaches related to artists' homes and environments.  The artists do agree on the integration of mind, body, and spirit to communicate the purpose of the exhibition.  The color of our skin still matters.  SKIN uses the beauty and creativity of visual arts to remind the viewers of our connections.  It's like a "maternal broken record" which continually illustrates the hope for community and compassion.