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https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/191168df-a433-4012-bf51-660beaaf428a/6B0645F5-0EEB-4117-BC7E-24C7C3C9C61E-branded+%281%29.jpg https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/7a823ee0-d0a2-4584-8865-ddf7bdd0f927/IMG_1155.jpg https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/d3def662-e40d-4fe4-b8b6-dd8f227b64af/IMG_5310+%282%29.JPEG https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/ee4d67d4-ef6b-447b-9e62-ae16ded5deb5/Screenshot+2025-12-09+115755.png https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/56e04986-568d-4dc6-85db-b8f0bd008725/IMG_5307+%284%29.JPEG https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/bccb602b-3577-461f-b33e-3d423cee5933/Screenshot+2025-12-11+122916.png Jacal (Gallery 1) Veronica Aranda Jacal, 2025 Clay, corn kernel, dirt, sticks, and corn husks A jacal is considered a hut or a shelter house in connection with the indigenous people of Mexico and the Spanish colonial structures. These types of jacals can be found in the Southwest and Mexico. A jacal can be made with wood poles or sticks, plastered with mud or adobe, and straws. The roof can be made out of straw, rushes, and sticks. This shelter was and is still common in rural areas in Mexico. Corn is a staple food in Mexico given its rich history and connection with Mesoamerica; it has become part of our everyday diet. I grew up eating corn in my daily meals, surrounded by family, friends, and community. Making this jacal/shelter house made me think of the connection to my culture and the importance of maintaining ties to our heritage through hands-on practices. Just as corn has been the foundation of Mesoamerican life for thousands of years, nourishing bodies, bringing families together at the table, and sustaining entire communities. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/0ab494da-f767-4f5a-851c-0042e4bb67c2/Screenshot+2025-12-11+123012.png Jacal (Gallery 1) Isabella Nelson Beautiful Substance, 2025 Wire, push pins, palm fronds, and gold spray paint This piece is inspired by the drug issues that arise in Ocean Beach (OB). I was interested in this specific location because of the similarities I saw within this town compared to my home town of Los Angeles due the fun culture and liveliness they both exude. After doing some research about OB it became very apparent that they have been dealing with apparent drug related issues which changed the atmosphere of their environment. This dark cloud that is hovering over such a beautiful community further related itself to the same issues LA faces which made it very clear I wanted to make a piece about OB. In my price I wanted to discuss the danger that entangles such a beautiful community and raise awareness for it. The beauty within this community made me think of the nature it presents, so I thought palm fronds would reflect that. To enhance the contrasting beauty and darkness of this piece, one palm is coated in gold spray paint and that other is dried out. The danger that presents itself with drugs made me think of wire, so I built a form with many sharp points that traps the palm fronds. To enhance the idea of being trapped by drugs, I draped push pins that hang off of wire which entangle themselves within the leaves. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/d9cea066-0f2f-46cc-bcbc-7148a7c5e56a/Screenshot+2025-12-11+123056.png Jacal (Gallery 1) David Lujano Niñez, 2025 Wood In this piece, the artist explores their own childhood from the perspective as an adult. From the process of building the form with pieces of scrap wood, using putty to fill the gaps between the cracks, and sanding the form, the visage of the artist is shown, as they recall from childhood. The intimate approach of adding and removing material, reveals the deep wounds from childhood. As time goes on, the wood naturally shifts, exposing cracks throughout. As a result, the fragility of the recollection of the childhood-self is highlighted. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/31ff9f08-5e98-4be5-870c-fcff73b65c19/Screenshot+2025-12-11+123144.png Jacal (Gallery 1) David Lujano Interstate Voyage, 2025 Cardboard,In Interstate Voyage, the artist combines the forms of the ships of discovery and U.S interstate infrastructure. Highlighting their similarities in utilization, to displace or remove undesired populations for perpetual economic development. wire, and concrete https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/da34a588-09de-4a0a-a31f-f394a69881ae/Screenshot+2025-12-11+123205.png Jacal (Gallery 1) Lily Shea Hidden Gems, 2025 Nylon String, wire, clear iridescent beads, sea glass, plastic bags, and sand This piece is a reflection of all the memories held during beach trips with my family and our ongoing tradition of collecting sea glass each time we visit. Sea glass has a unique impact on my life not only from the memories that have spawned from collecting it, but also because of how this material comes to life. I have always said sea glass is the ocean’s art created from pollution. Sea glass is created from the polluted glass that is dumped in our oceans, but then the sea makes light of this where it creates these smooth, yet textured, organic pieces of glass through tumbling this material within its waves. This is important to me because I am a huge activist on taking care of our environment and I enjoy seeing beautiful things come out of what we once considered trash. The pieces of sea glass seen throughout the piece are various fragments that have been collected by my family throughout the years. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/8fe059d1-e830-403d-b85d-e70e8e9b3d66/Screenshot+2025-12-11+123251.png Jacal (Gallery 1) Peyton Doull Holding, 2025 Found tree bark, pinecones, grass, cyanotype, antler, and thread In this piece, different fallen tree barks from around their campus and home were collected. Each piece of bark is sewn together and held together with pinecone buttons. Three palm tree sheaths are coated with cyanotype and printed upon using the artist’s body and hands, chemically marking the bark with an impression. The grass lined cavity invites people to look in to see what is nested inside. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/c2b2fd19-5f3c-4e0d-926c-d28908a425a1/Screenshot+2025-12-11+123305.png Jacal (Gallery 1) Amanda Chapman Disco Meteorite, 2025 CDs, and glitter Amanda Chapman explores emphasis on size, her imagination, and materials new to her with this holographic piece titled ‘Disco Meteorite.’ She is inspired by her love of bright colors, light interacting with those colors, and the vastness of outer space. The beaming stars around the ‘Disco Meteorite’ aim to create a calming feeling whilst in the presence of the artwork. The colorful CD pieces and glitter give a whimsical tone of floating in a different galaxy leaving any turmoil of our home planet behind. Overall, her process was a refreshing learning experience that introduced inspiration for her future projects. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/4d557809-4f85-4f32-9e29-2ee2b295da50/Screenshot+2025-12-11+123355.png Jacal (Gallery 1) Tina Mardan The Quotidian, 2025 Image transfer on fabric Through this piece, I explored the idea of the mundane and the repetition of daily life. Through the photos of my own bed repeated, layered and arranged, I wanted to convey the familiarity of the mundane. The bed, often understood as the most personal and private anchor of domestic space, becomes multiplied to challenge the idea of home and to be romanticized. The viewer is invited to consider how routines shape our understanding of belonging, and how “home” is not a fixed concept but constantly renegotiated through memory, habit, and emotion. Ultimately, the piece challenges the romanticized idea of home as stable or singular. Instead, it suggests that home might be a feeling assembled from countless mundane moments. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/7bd4af5b-6441-426f-9fee-3c5c17e109be/Screenshot+2025-12-11+123409.png Jacal (Gallery 1) Stephania Ross Ultralight Beam, 2025 Burned wood During the creation of this piece, I decided to experiment with the process of how a piece is created. I usually like to have a personal culture connection to my work, so I focused mainly on form. Though as the project came to its finish, I realized that I did end up having a personal connection to the piece. Being from Altadena, CA and it burning to the ground earlier this year, I subconsciously expressed my resilience. Taking a natural material through a natural process that resulted into organic material, it reminded me how at every stage of life, there is value. Wood is a useful material, but so is coal. Even after it's burnt, it still has a purpose. Just like the folks of Altadena, CA. We may look different than what we originally had, but we are coming back strong, still finding meaning at every stage of life. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/348dceb7-d4ec-43ba-b248-c895a8fbf153/Screenshot+2025-12-11+123420.png Jacal (Gallery 1) Stephania Ross Her-storia, 2025 Mexican bags and purses, cardboard, sewing thread, 3x magnifying lens, and wood Exploring the concept of multiples, I landed on the medium of photography. I came to learn about stereoscopes from the early 19th century and how they were used for entertainment and education through these 3D visuals, very high tech of the time. I thought about how history is kept in these photographs, how conversations and stories come from them as well. In my stereographs, I have edited photographs of the women in my life, specifically on my mother’s side. My great grandmother Rosenda, my grandmother Rosa, my mother Sandra, and myself, the women who deserve to be known for what they have produced with me. Each of these women taught me a skill as a child that allowed me to create this project. From sewing, to stitch work, to creativity, and persistence, without them it would not be possible. I made this stereoscope specifically with Mexican bags and purses that are well-known through their weave work and patterns because these women would always gift me these bags and purses. It became a part of my identity, a part of my story, a part of her-story that I wanted to share with y’all through this viewing device made to share information. https://images.squarespace-cdn.com/content/v1/69385c775ebb8a3919b9f20b/49927060-f9a3-4c36-a16b-bc3dd1b150a1/Screenshot+2025-12-11+123440.png Jacal (Gallery 1) Camilo Molina Foundation Block, 2025 Concrete, soil, foam, and cardboard Foundation Block reimagines the concrete footing— the literal base of city construction— as a small memorial for what those foundations conceal. Inspired by the urban erasure of El Campo Santo in San Diego, where graves were paved over and “forgotten” beneath modern infrastructure, the sculpture reproduces that gesture on a human scale. A concrete cube encases a hollow cavity filled with soil, visible through a small glass window. The form appears solid and civic, yet its core hides the very earth it displaced. 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