Cardboard: Infinite Possibilities
January 2 – 30, 2026
Opening Reception: Friday, January 2, 5–10 PM
Artist Talk: Thursday, January 15, 7–9 PM

Address: 341-B S Avenue 17, Los Angeles, CA 90031
Gallery Hours: Thursday–Sunday, 12–7 PM

Los Angeles, CA — Wönzimer Gallery presents Cardboard: Infinite Possibilities, a group exhibition featuring an international roster of twelve artists who redefine what is possible with this ubiquitous and unpretentious material. This exhibition celebrates cardboard as a powerful medium for innovation, transformation, and metaphor.

Curated by Ann Weber, who is represented by Wönzimer Gallery, Cardboard: Infinite Possibilities highlights artists who have elevated cardboard from the everyday to the extraordinary. Weber, known for her monumental and sensuous sculptures made from discarded boxes, first began working with the material in 1991 after discovering architect Frank Gehry’s groundbreaking cardboard furniture. Gehry’s iconic Easy Edges Wiggle Chair (1972) will be featured in the exhibition, marking a full-circle moment that connects inspiration and influence across generations.

“I am excited to bring together a diverse group of artists whose work reimagines this ubiquitous material in compelling, subversive, and beautiful ways.” - Ann Weber, Curator 

Sustainability and reinvention are central themes throughout the show. Shigeru Ban (Tokyo), internationally recognized for his humanitarian architecture, uses cardboard sonotubes to build rapid-response shelters and structures for communities affected by natural disasters, including those impacted by the January fires in Los Angeles.  Artists such as Jodi Hays (Nashville) and Edgar Ramirez (Los Angeles) abuse, dye, layer, and paint cardboard to create striking large-scale wall works. 

Together, these artists reveal the vast creative potential of a material often overlooked, inviting viewers to reconsider notions of permanence, beauty, and value. Infinite possibilities indeed.

Participating Artists:
 Shigeru Ban (Tokyo); Frank Gehry (Los Angeles); Tim Hawkinson (Los Angeles); Jodi Hays (Nashville); Narsiso Martinez (Los Angeles); Hector Dionicio Mendoza (Salinas); Jebila Okongwu (Rome); Edgar Ramirez (Los Angeles); Samuelle Richardson (Los Angeles); Michael Stutz (San Diego); Ann Weber (Los Angeles); Leonie Weber (Brooklyn)

Ode To Sunflower

Drawings by Joshua AM Ross

Furniture Designs by Caleb Engstrom

Wonzimer Gallery

341 S Avenue 17 Los Angeles CA 90031

wonzimerinfo@gmail.com | www.wonzimer.com

Opening Reception: 7-10pm Friday November 14th, 2025

Exhibition Dates: November 14th - December 12th, 2025

Wönzimer is pleased to announce Ode to Sunflower, a two-person exhibition featuring new works by Joshua AM Ross and Caleb Engstrom.

Ode to Sunflower explores themes of perception, the body, and material intimacy through drawings and furniture. The exhibition features 14 colored pencil drawings by Joshua AM Ross alongside 14 new furniture pieces by Caleb Engstrom.

Joshua AM Ross’s work draws a parallel between the life cycle of the sunflower and the human body. His series of drawings portrays figures in motion, capturing moments of interaction and connection. These works ask questions about seeing, being, and becoming, examining how bodies engage with one another through both touch and non-touch.

Caleb Engstrom presents the newest chapter of his DRY KISS series. The works include aluminum chairs and the debut of a dining table, as well as an upholstered lounge chair in wide-wale corduroy. Guided by the mantra “don’t repeat yourself, keep it simple, stupid,” Engstrom explores how we inhabit objects, and how touch transforms into memory.

Together, Ross and Engstrom’s investigations into the architecture of experience and the intimacy of materials find shared ground, creating a dialogue between their works

Drawing from Imperfectionism 

Curated by Alaïa Parhizi

Wonzimer Gallery, 341 S Avenue 17, Los Angeles 90031

Opening Reception: October 17th 5-10pm

Exhibition Dates: October 17th - November 7th 2025

Wonzimer Gallery is proud to present "Drawing from Imperfectionism," a group exhibition that stands as a philosophical counterpoint to our contemporary search for perfection. Curated by artist Alaïa Parhizi, this show is an ode to the beauty found in flaws, accidents, and the unique, irreplaceable nature of human creation.

The exhibition features a diverse collection of drawings, each a final work of art that embraces the principles of Imperfectionism. This movement, founded by Parhizi in 2014, challenges the anthropocentric belief that we can control our world and destiny. Instead, it finds grace in the humility of flawed forms—a philosophy that has deep roots in traditions from Japanese Wabi-Sabi to deliberate "mistakes" in Islamic art and the subconscious-driven accidents of Dada and Surrealism.

In an age where artificial intelligence and robotics can produce flawless outcomes and precise duplications, this exhibition reasserts the value of the human touch. The works on display are not a pursuit of a planned outcome but are a direct reflection where raw and expressive impulses guide the creative process. The artists free themselves from the old paradigms of suffering and traditional limitations, allowing for a creative process that is focused, liberated, and deeply personal.

The artworks in "Drawing from Imperfectionism" are a testament to the unique circumstances of each artist and serve as a "capsule of human consciousness" where premeditation is set aside. This is art that acknowledges the vulnerability of being human and finds the perfect vessel for our wayward and contradictory nature in the imperfect form.

Exhibiting Artists:

John Greer

James Caruso

Alaïa Parhizi

Cheyann Washington

Nick Taggart

Constantin Werner

Lucien Dante Lazar

Shilla Shakoori

Christine Weir

Joshua AM Ross

Nadege Monchera Baer

Brian Randolph

linn meyers

Serafina Harris

Iva Gueorguieva

Bryant Eugene Vazquez (BEV)

Ann Weber

Tim Hawkinson

David S. Rubin

Hiromi Nakatsugawa

Marta Thoma Hall

Retro 1999

Tom Dunn

Elías Hernández

Jorge Mujica

Kim Farbota

Ian Douglass

Lisa Lesniak

Ruby Vartan

Lino Bernabe Fernandez

Justin N. Kim

The Contaminator

Nena Amsler

Sebastian Loo

Scott Meskill

Tae Lee

Kelsey Overstreet

Caleb St Julian

Julia Nejman

Brittany Kiertzner (Arisawe)

Carole Silverstein

Vasco Del Rey

Theodore Svenningsen

Mitologías de un Niño Mexicano

(Mythologies of a Mexican Boy)

Vasco Del Rey Solo Exhibition

Opening Reception: 7-10pm Friday  September 19th, 2025

Exhibition Dates : September 19th, -October 12th, 2025

Gallery Hours: 12 pm–7 pm, Thursday - Sunday 

Wonzimer Gallery, 341 S Avenue 17, Los Angeles 90031

Wonzimer is proud to announce Mythologies of a Mexican Boy, the gallery’s first solo exhibition with Vasco Del Rey. Born in southern Mexico and raised in Los Angeles, Vasco has spent the past three years developing a visual language rooted in rupture, ritual, and remembrance. The series exhibited is fueled by the tension between presence and absence—between a Mexico remembered only through childhood memory and a life built far from it. In this space between geographies, Vasco constructs not a narrative but a mythology. Paintings emerge as offerings rather than answers, rich with motifs that resist fixed meaning.

Figures are stripped down and devotional, suspended between tenderness and ache, the personal and universal. The result is not a linear story, but a visual theology shaped by intuition, migration and the quiet insistence to be seen.

At its core, the work grapples with longing—for family left behind, for a home that no longer exists and for a sense of belonging with a fractured identity. Vasco mythologizes the immigrant experience, layering personal history with archetypes. Vasco’s figures appear as vessels, saints, and prayers. They carry both beauty and burden. The body is central: contorted, reaching, weeping, blooming. Often faceless, his figures carry the weight of two homes, two tongues, and the emotional scar tissue of distance. Mythologies of a Mexican Boy is not about nostalgia. It is about what memory does in absence, how it stretches, stains, and sanctifies. A boy’s recollection of his motherland, fused with the strength gained through perseverance, becomes a timeless mythology. Vasco Del Rey’s work is a mythic reconstruction of memory, identity and romance anchored in the psychological weight of the immigrant experience. Wood pallets become a major source of inspiration, the artist finds what was left unseen and transforms them into altars. This act mirrors the immigrant experience itself: the strength to carry without praise, the grace to endure without recognition. In elevating what is often discarded, Vasco offers a quiet reverence for lives built in the shadows, turning survival into a sacred form of expression.

Though deeply personal, this story echoes across countless others—lives marked by displacement, resilience, and love. Vasco does not claim to speak for all, but he aims to paint what many carry silently. In doing so, he hopes to create space for reflection, empathy, and a reimagining of what it means to belong in a world where belonging is never simple. This body of work is a radiant invocation of the enduring mythic spirit woven through all people, histories and cultures - a force that refuses erasure.

Mother Memory

Curated by Toti O’Brien

Opening Reception: 5-10pm Friday  August 15th, 2025

Exhibition Dates : August 15th, -September 12th, 2025

Gallery Hours: 12 pm–7 pm, Wednesday - Sunday.

Wonzimer Gallery, 341 S Avenue 17, Los Angeles 90031

Anita Getzler

Gina Lawson Egan

Peter Liashkov

Marina Moevs

Nadege Monchera Baer

Toti O’Brien

Melinda Smith Altshuler

Nancy Kay Turner

J Michael Walker

"Mother Memory" is a group art exhibit organized by contributing artist Toti O’Brien. The exhibit explores both memories of mothers, mothering, and motherhood, as well as the idea of memory (our human faculty to recall, revive, and reinvent what is no longer accessible to the senses) as a matrix.

In what ways does memory mother us? To what extent does it create us, shaping who we are and what we do? Does it nurture us? Protect us? Can it heal us? Can it instruct and guide us? "Mother Memory" features work by nine Los Angeles-based artists, each bringing their unique perspective to the chosen theme through a variety of artworks. These pieces expand the core concept, introducing echoes of legacy, ancestry, motherland, mother tongue, and — last but certainly not least — the present and future of our wounded Mother Earth.

The exhibition is complemented by a poetry-and-performance event that will take place at Wonzimer Gallery on Friday, August 22nd, from 7pm-9pm. The event will showcase a performance ("Sound Shadows") by artists Cindy Rinne and Katia Hage, a video performance by artist Anita Getzler, and a combination of live and remote readings by seven poets.

Cynthia Anderson

Katerina Canyon

Shahé Mankerian

Toti O’Brien

Alexis Rhone Fancher

Miriam Sagan

Kathabela Wilson

Mother and Child: A Portal

Paintings, Drawings & Tapestries by Lucien Dante Lazar

Sculptural Works by Cybele Rowe, Patrick Nickell, Ann Weber, & Cheyann Washington

Opening Reception: 5-10pm Friday July 11th 2025

Exhibition Dates : July 11th - August 8th, 2025

Wonzimer Gallery, 341 S Avenue 17, Los Angeles 90031

 Wonzimer Gallery presents “Mother and Child: A Portal,” a new exhibition opening July 11th. Inspired by a meditation on Raphael’s Tempi Madonna, artist/curator Lucien Dante Lazar discovered the "portal" in the space between Mary and Jesus – an opening into humanity and divinity.

This exhibition explores the Mother and Child archetype as both tender human connection and exalted spiritual reality, inviting viewers to consider this timeless bond as an entry point into new ways of sensing and perceiving.

“Working with the Mother and Child opens the door to an expansive creative field,” says Lazar. “I’ve discovered an unfolding stream of imagery, understanding, and insight—into myself and into the wider scope of reality.”

“Mother and Child: A Portal” features new paintings, drawings and tapestries by Lucien Dante Lazar, guiding the exhibition’s vision. These are complemented by distinct sculptural works from each of the other distinguished artists: Cybele Rowe, Patrick Nickell, Ann Weber, and Cheyann Washington. Each artist brings their unique material and aesthetic approach to the theme, creating a rich dialogue that deepens the exhibition’s exploration of this enduring relationship.

This exhibition aims to reveal the Mother and Child archetype as a gateway for our times, offering the possibility of reimagining culture itself.

 Slipping Glimpser

 Munro Galloway

 Iva Gueorguieva

 Cameron Harvey

 Aaron Maier-Carretero

 Patrick McElnea

 Wönzimer

 341-B S. Avenue. 17, Los Angeles, California 90031

 (May 23rd  – June 20th, 2025)

 Opening: Friday, May 23rd, 5-10pm

 “When I’m falling, I’m doing alright. And when I’m slipping, I say, ‘Hey, this is very

 interesting.’… That is a wonderful sensation … to slip into this glimpse.”

 –Willem de Kooning to David Sylvester, 1960

 Wönzimer is pleased to present Slipping Glimpser , an exhibition of five painters working in Los Angeles, connected through a shared commitment to process, improvisation, and dialogue. Through a series of informal studio visits over the past two years, these artists exchanged ideas, shared works in progress, and explored the slipperiness of looking, making, and understanding.

 It began when Iva texted Pat and Munro for a studio visit. They went to her studio on North Spring Street, near the LA River, where Cameron was already waiting. Aaron showed up a little later. Together they moved the giant paintings around, shifting them to see from different angles.They talked about habitats, craters, tornadoes, ghostly transparencies, and dotted lines. Iva gave everyone a drawing, and afterward they went to the bar.

 The next time they gathered was at Aaron’s studio. Dapples, his Great Dane, greeted them at thedoor before sprawling in the middle of the room. Aaron’s paintings of cats, birds, sardines, and sandwiches covered the walls. They sat on the floor leafing through drawings, and talked about grids, repetition, and containment.

 At Cameron’s studio her unstretched paintings were piled on the floor like rugs. The canvases were massive, spilling loosely from the walls onto the ground. In the middle of the space was a large cocoon-like mass of colorful plastic painting detritus. Cameron was trying to make it stand on its own. They talked about hides, moths, leaves, midlines, and dancing. 

In Pat’s studio, they looked at oil paintings on panels, made through blotting and wiping. The paintings evoked soot, fog, shadows and sidewalks, and the color of pollution. They talked about mixing color, and how certain combinations evoked a mood. Towards the end, Pat pulled out his collages, with titles, like Eye-eye-foam and Fidelity Futures .

 When they visited Munro’s studio, the walls were covered with hundreds of black ink drawings on newsprint, alongside large oil paintings. Small hand-painted wooden sculptures sat on shelves beneath the drawings. Aaron noticed one painting was upside down, so they turned it around. They looked at the paintings and saw masts, eyes, apertures, doorways and horizon lines. Then they went back to Munro’s house for soup.

Everything is Radiant 

Gary Brewer Solo Exhibition

Wonzimer Gallery 341 S Avenue 17 Los Angeles, CA

Opening Reception: Friday, April 25th, 2025 | 7:00 PM - 10:00 PM 

Exhibition Dates: April 25th - May 16th, 2025

Wonzimer Gallery is delighted to present "Everything is Radiant," a solo exhibition of new paintings and sculptures by Gary Brewer.

Life is an incomprehensible mystery. The forces that have shaped the infinite variations of living things are vast, and our understanding of what we see as reality is a mercurial slipstream of shape-shifting phenomena. Brewer's paintings and sculptures express his deep love of life and a desire to engage in articulating a spectrum of forms that reveal a glimmer of the metaphysical order in life's rich pageant.

Inherent in each of the life forms in Brewer's paintings or in the abstract biomorphic shapes of his ceramic sculptures, there is a quality that conveys the tenacity and complexity of this animate universe. Orchids, corals, gold formations, and lichens are a part of the lexicon of images that he uses in his paintings. In each of these subjects, we see something that instantly engages our mind, bodies, and imagination. The animated character of these shapes has intrigued Brewer for years. They express in their elemental designs, a life force that begets the complex unfolding of our world, adapting and metamorphosing to flourish in an ever-changing environment.

Brewer's ceramic sculptures are polymorphic; they suggest sea life, the body, and erotic orifices. The rich overlay of glazes excites the mind and suggests lichens, mosses, encrustations from the sea, dried salt flats, and myriad other phenomena. The sculptures are created without a design in mind. They unfold in an intuitive process; the sensual experience of feeling and shaping form through his hands guides him; Brewer creates his sculptures more through touch than sight.

Brewer feels as though the colorful and dynamic glazes in this body of works are a form of 3-dimensional painting. These ceramic sculptures are a recent and fascinating new development in his life as an artist; they are a reflection of the subject matter in his paintings transformed into a new physical expression.

Windswept

Curated by Genie Davis

On view:  March 21 – April 17, 2025 | Reception: March 21, 2025    5-10 p.m.

Artist’s Talk: March 30, 2025  3-5 p.m.

Curatorial Walk Through/Closing: April 17, 2025 5-8 p.m.

Regular Gallery Hours: Wednesday-Sunday 12-7 p.m.

Location:  Wonzimer Gallery

341-B S Avenue 17, Los Angeles, CA 90031

email: wonzimergalleryinfo@gmail.com

Website: https://www.wonzimer.com/

Windswept, opening March 21st in Los Angeles, is an immersive group exhibition featuring over 15 painted works from throughout international artist Susan Ossman’s career in conjunction with sculptural, photographic, collage, video, and installation works by artists including Dani Dodge, Angelica Sotiriou, Beth Elliott, Linda Sue Price, Snezana Saraswati Petrovic, Diane Cockerill, Bruce Cockerill, Scott Meskill, Eileen Oda, Jason Jenn, Nancy Kay Turner, and Nancy Voegeli-Curan.

The exhibition explores each artist’s own unique vision of wind, from lush oil and acrylic to potent abstract neon art and otherworldly mixed media. While you can’t see the wind, you can envision what it creates: sand and soil, propagated flowers and seeds, the sails of ships, ocean currents, kites soaring aloft, magical balloons, tossing tumbleweeds, birds drifting on warm ocean currents, the ominous wreckage of storms both natural and societal, or the ungovernable spread of fire and ash.

Wind has always played an enormous role in both the world’s ecology and in the lives of humans.

Wind is a mood and a feeling, a part of our culture, our literature, and our desire for change. In the novella Red Wind, noir writer Raymond Chandler describes the wind in Los Angeles as “…one of those hot dry Santa Ana’s that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch.”  Kahlil Gibran writes in The Prophet, “The breath of life is in the sunlight and the hand of life is in the wind.” South African philosopher Mokokoma Mokhonoana says, “To most human beings, wind is an irritation. To most trees, wind is a song.” And of course, we all know that when we question our situation in life, as Bob Dylan sings, “The answer, my friend, is blowin' in the wind.”

 The works in this exhibition are all about the pull of wind, encompassing images that traverse the seasons. Conceived as a group exhibition, while not conventionally collaborative, the artwork swirls together in a wide range of mediums, examining how this natural phenomenon and its symbolism affects all aspects of life on this planet.

 Pierre Teilhard de Chardin says, “Matter is spirit moving slowly.” But in the matter of wind, it is spirit moving rapidly, coursing through the world, the mind, the heart, and art.

 - Genie Davis, curator

We Insist On Growing - Cheyann Washington Solo Exhibition

Wonzimer Gallery 341-B S Avenue 17 Los Angeles 90031 / wonzimerinfo@gmail.com

Opening Reception:  February 21st, 2025  | 7 pm - 10 pm  Exhibition Dates: February 21st, 2025 - March 14th, 2025

Wonzimer Gallery is delighted to announce Cheyann Washington's solo exhibition titled "We Insist On Growing." This exhibition marks Washington's second solo show with the gallery and showcases her ongoing process of making and using her own natural pigments.

The title, "We Insist On Growing," reflects the resilience and persistence found in nature, a central theme in Washington's work. It serves as a reminder of the continuous cycle of life and the inherent drive within both humans and the natural world to evolve and thrive.

Washington is an artist deeply connected to the natural world. Her meticulous practice revolves around creating figurative artworks using only earth pigments derived from rocks, minerals, and other organic materials. This unique process imbues her work with a vibrance and a sense of connection to the earth.

"We Insist On Growing" unveils Washington's latest paintings, sculptures, and her exciting new path into the world of ceramics. The exhibition explores themes of growth, interconnection, and the enduring power of nature. Washington's captivating figures, both human and plant-like, reflect a deep understanding of organic forms and celebrate the cycle of life.