Alexandra Wiesenfeld
Alexandra Wiesenfeld is a German-born, Los Angeles based artist who has exhibited throughout the United States, Mexico, and in Europe. Her work delves into the intricate relationships between humans and the natural world, exploring themes of climate grief, interconnectedness, and hope. She was represented in Los Angeles by Happy Lion Gallery and Klowden Mann Gallery (2010-20), and has also shown at FOCA, Angles Gallery, PRJTLA, C-May Gallery, and the Eagle Rock Cultural Center in Los Angeles, The Irvine Fine Arts Center, the Torrance Art Museum in California, the Dactyl Foundation in New York, the Roswell Museum of Art in New Mexico, the Missoula Museum of Art in Montana, Anton Gallery in Washington, DC, Kunst Karlshütte in Germany, Turps in London, and in art fairs in San Francisco, Miami, Dallas, London, Mexico City, and Stockholm. Her work is held in public and private collections nationally and internationally. She teaches painting and drawing at Los Angeles City College.
Alexandra Wiesenfeld is a German-born, Los Angeles based artist who has exhibited throughout the United States, Mexico, and in Europe. Her work delves into the intricate relationships between humans and the natural world, exploring themes of climate grief, interconnectedness, and hope. She was represented in Los Angeles by Happy Lion Gallery and Klowden Mann Gallery (2010-20), and has also shown at FOCA, Angles Gallery, PRJTLA, C-May Gallery, and the Eagle Rock Cultural Center in Los Angeles, The Irvine Fine Arts Center, the Torrance Art Museum in California, the Dactyl Foundation in New York, the Roswell Museum of Art in New Mexico, the Missoula Museum of Art in Montana, Anton Gallery in Washington, DC, Kunst Karlshütte in Germany, Turps in London, and in art fairs in San Francisco, Miami, Dallas, London, Mexico City, and Stockholm. Her work is held in public and private collections nationally and internationally. She teaches painting and drawing at Los Angeles City College.
" the things they said when they were rocks "
2025
collage and oil on yupo paper
72 x 60 inch
2025
collage and oil on yupo paper
72 x 60 inch
" rockman float "
2025
Oil on Canvas
64 x 78 inch
2025
Oil on Canvas
64 x 78 inch
" below "
2025
oil and acrylic on yupo
89 x 89 inch
2025
oil and acrylic on yupo
89 x 89 inch
" can’t save the trees upside down "
2025
Oil on Canvas on wood
64 x 72 x 3 inch
2025
Oil on Canvas on wood
64 x 72 x 3 inch
" water "
2025
collage, encaustic and oil on
48 x 72 x 3 inch
2025
collage, encaustic and oil on
48 x 72 x 3 inch
" tuckedt "
2025
oil on yupo
40 x 31 inch
2025
oil on yupo
40 x 31 inch
" flow "
2025
oil on canvas
64 x 78 inch
2025
oil on canvas
64 x 78 inch
Snezana Saraswati Petrovic
As an immigrant from a war-broken country (Yugoslavia), I search for the home that I have lost. The notion of "home" becomes multifaceted, transcending physical boundaries and encompassing the global collectivity, and our only true home: the Earth. My art represents a dynamic interplay between art, science, and technology, serving as a lexical bridge that unites visual metaphors with societal realities. I create immersive and imaginary environments that explore the boundaries between natural objects and those made by humans or robots, traversing the delicate border between the structural and the natural. This exploration aims to provoke reflections on our shared global narratives of movement, belonging, life, and transformation. Whether through 3D or 2D artworks, I intend to blur the separation between object and subject, inside and outside, inhale versus exhale. I deliberately employ diverse mediums and materials—ranging from natural to synthetic—as symbols of consumer culture, highlighting both their visual prominence and profound ecological impact. By juxtaposing these disparate elements, I seek to challenge preconceived notions of materiality and explore the intricate relationships between consumerism, waste, and the fragility of our natural world. My interactive environments and artworks are intended to foster a collective responsibility in safeguarding our environment and reimagining the interconnected future we all share.
As an immigrant from a war-broken country (Yugoslavia), I search for the home that I have lost. The notion of "home" becomes multifaceted, transcending physical boundaries and encompassing the global collectivity, and our only true home: the Earth. My art represents a dynamic interplay between art, science, and technology, serving as a lexical bridge that unites visual metaphors with societal realities. I create immersive and imaginary environments that explore the boundaries between natural objects and those made by humans or robots, traversing the delicate border between the structural and the natural. This exploration aims to provoke reflections on our shared global narratives of movement, belonging, life, and transformation. Whether through 3D or 2D artworks, I intend to blur the separation between object and subject, inside and outside, inhale versus exhale. I deliberately employ diverse mediums and materials—ranging from natural to synthetic—as symbols of consumer culture, highlighting both their visual prominence and profound ecological impact. By juxtaposing these disparate elements, I seek to challenge preconceived notions of materiality and explore the intricate relationships between consumerism, waste, and the fragility of our natural world. My interactive environments and artworks are intended to foster a collective responsibility in safeguarding our environment and reimagining the interconnected future we all share.
" Homo Deus Invictus: Spirit Fossils "
2024
zip ties, found objects
10ft x 18 inches x 14 inches
2024
zip ties, found objects
10ft x 18 inches x 14 inches
" Corn Mother "
2025
Infaltable ripstop fabric, fen, zip ties
4.5 ft x 4 ft x 4 ft
2025
Infaltable ripstop fabric, fen, zip ties
4.5 ft x 4 ft x 4 ft
" Tree of Life "
2025
zip ties, found objects
14 ft x 3 ft x 4 ft
2025
zip ties, found objects
14 ft x 3 ft x 4 ft
" Volcano "
2025
Zip ties, 3D prints, bioplastic
21 x 18 x17 inch
2025
Zip ties, 3D prints, bioplastic
21 x 18 x17 inch
" Life Support System "
2025
Zip ties, mylar, fen
Size varies up to 36 x 22 x 20 inches
2025
Zip ties, mylar, fen
Size varies up to 36 x 22 x 20 inches
" Ephemeral Structure Paradox "
2025
4 x 4 x 6 ft
2025
4 x 4 x 6 ft
" Angel Fish Microplastic Skeleton "
2025
Zip ties, 3D prints, bioplastic
2025
Zip ties, 3D prints, bioplastic
" Fractured Tomorrow "
2025
Video installation
2025
Video installation
Regina Herod
Regina Herod is a LA based artist who makes art that remembers. That resists forgetting. Her sculptural practice is a calling forth—of ancestral memory, of wounds and wisdom buried beneath the surface. Through the use of wood, wax, metal, glass and fire, she shapes those stories into form. Her materials twist, char, rupture and mend, echoing the cycles of displacement, migration, and becoming. They speak of survival and beauty, of history’s shadow and the light we forge in spite of it. Herod is an adjunct professor of art and her works have been exhibited at galleries in California, New York City and Mexico City including The Irvine Fine Arts Center, Elliott Hundley’s Project Space, Eastern Projects, in conjunction with The Getty Museum’s “Jewels of Ancient Nubia” exhibition, Ronald H. Silverman Fine Arts Gallery at CSU Los Angeles, Nan Rae Gallery at Woodbury College, Cypress College Art Gallery and Band of Vices Gallery. Ms. Herod has also collaborated in performances at The Broad Museum, The Wende Museum and Wonzimer Gallery. She is a 2023-24 Department of Cultural Affairs Trailblazers award recipient.
Regina Herod is a LA based artist who makes art that remembers. That resists forgetting. Her sculptural practice is a calling forth—of ancestral memory, of wounds and wisdom buried beneath the surface. Through the use of wood, wax, metal, glass and fire, she shapes those stories into form. Her materials twist, char, rupture and mend, echoing the cycles of displacement, migration, and becoming. They speak of survival and beauty, of history’s shadow and the light we forge in spite of it. Herod is an adjunct professor of art and her works have been exhibited at galleries in California, New York City and Mexico City including The Irvine Fine Arts Center, Elliott Hundley’s Project Space, Eastern Projects, in conjunction with The Getty Museum’s “Jewels of Ancient Nubia” exhibition, Ronald H. Silverman Fine Arts Gallery at CSU Los Angeles, Nan Rae Gallery at Woodbury College, Cypress College Art Gallery and Band of Vices Gallery. Ms. Herod has also collaborated in performances at The Broad Museum, The Wende Museum and Wonzimer Gallery. She is a 2023-24 Department of Cultural Affairs Trailblazers award recipient.
" All Of The Abominations That The Negro Footmen Saw "
2025
aluminum, paper, plaster, pigmented wax, metal, found objects, glass, nails and wire
28 x 24 x 30 in
2025
aluminum, paper, plaster, pigmented wax, metal, found objects, glass, nails and wire
28 x 24 x 30 in
" Saving The Country For Centuries "
2025
steel, wood paper, pigmented wax, glass and wire
32 x 24 x 18 in
2025
steel, wood paper, pigmented wax, glass and wire
32 x 24 x 18 in
" A Series Of Scandalous Memories "
2025
steel, wood paper, found metals pigmented wax, glass and wire
27 x 25 x 20 in
2025
steel, wood paper, found metals pigmented wax, glass and wire
27 x 25 x 20 in
" We Know The Earth Like No Other "
2025
aluminum, wood, pigmented wax, metal found objects, glass, wire and mica
18 x 14 × 20 in
2025
aluminum, wood, pigmented wax, metal found objects, glass, wire and mica
18 x 14 × 20 in
" Measuring Time And Healing through A Song "
2025
paper, reclaimed wood, pigmented wax, found metal sea shells
30 x 22 x 18 in
2025
paper, reclaimed wood, pigmented wax, found metal sea shells
30 x 22 x 18 in
" The Beauty Of The Second Glance People "
2025
aluminum, paper, plaster, pigmented wax, metal, found objects, glass, nails and wire
23 x 21 x 13 in
2025
aluminum, paper, plaster, pigmented wax, metal, found objects, glass, nails and wire
23 x 21 x 13 in