Maureen Van Leeuwen Haldeman,
Maureen Van Leeuwen Haldeman, "Superboy", "Joseph De Sanze, "Absent Thought"

    • Ralph Bakshi


      When subject matter and materials become the same thing, the painting becomes true for me.

    • Mark Brosmer


      Mark Brosmer's paintings depict fascinating dreamscapes: a world where the real and unreal fill the canvas equally.


      Brosmer is an artist whose work consciously reflects the elements of earth, air and water.


      These poetic illusions stretch the imagination and welcome contemplation. The simplicity of each work is expressed with clarity but at the same time encourages the mind to explore beautiful and entertaining visual puzzles.


      Mark Brosmer states, "The places I've created in my paintings are representative of our earth as we know it, yet more distant than we would care to imagine. My work lives in a silent environment where time fails to exist, where focus is shared between symbols and their surrounding areas."

    • Marlene Capell




      Marlene Capell's recent abstract paintings refer to remnants of ancient structures as the source for her compositions. Much like ancient archeological sites, the canvases reflect the passages and process of time as the surfaces are built up with paint, layer over layer, obliterating and reworking, concealing the past but leaving hints of what came before. Ultimately, it is this evidence of the painting process that becomes the focal point of her paintings.


      Capell says of her work, " I visualize these paintings as a reflection of life as well as a connection to our ancient beginnings and other cultures throught time. I begin by building non-objective architectonic forms, which evolve from my fascination with Stonehenge and Lion Gate of Mycenae. I use a specific kind of formal structure to provide order out of the vast multitude of available choices. Rather then perceptually rendering or recreating the appearance of these monolithic structures, working non-objectively allows me to speculate, change and uncover.


      Just as each civilization is built upon the structure of previous ones, I believe our lives are a process of building one experience upon another. As many of these paintings are painted over previous ones, revealing the history of themselves, they become a metaphor for growth and evolution. For me this is also the exchange between the careful rational mind and the desire for spontaneity and a measure of surprise. The challenge becomes just how much freedom I can allow myself.

    • Elizabeth Decker


    • Edem Elesh


      I am interested in examining the miracle of everyday existence. I have lead a very unique life. Born in Los Angeles and educated from an early age at English boarding schools, I have been exposed to two different cultures. This gives my work an American energy with English sensibilities. I am intrigued by the interplay born of this duality: order and chaos, old and new, the conscious and unconscious, structure and freedom. Not to mention expectation and accident. I am currently working with a new form of mixed media which allows, to an even greater extent, the chances of an interplay between process and providence.

    • Claudio Luchina


      CLAUDIO LUCHINA | I like to consider my paintings as questions, more than as answers. Not so much as the final product or result of a process but rather as a perceptual springboard. The paintings are, therefore, both, cause and effect. I intend this journey as a cartography of the ineffable.

    • Melissa Meier


      Artist Statement: Assemblage



      My work confronts social and spiritual issues by combining found objects with antique portrait photographs. The constructions are often conceived through memories, dreams and fears and usually embody articles that I find in flea markets, antique stores and trash bins. Three-dimensional and often colorful, the objects bring new life to their sepia-colored subjects. I am constantly working with new processes and structure. The art is spontaneous; the works often seem to build themselves. This is not to say that all pieces are successful in portraying my vision; my fulfillment lies in the search.


      I spent most of my childhood in Brazil. I received a B.A. from the Art Center College of Design in Pasadena, California. I have exhibited my work in New York City at the Annext Gallery, the Audio Arts Gallery, and the K&E Gallery, and in Boston at Barbara Singer Fine Art, Gallery 70, Fort Point Arts Community, Gallery 57, Fuller Museum, Federal Reserve Bank of Boston Gallery, and the Lowell Street Gallery. I have also shown in Brazil at the State of Sao Paulo Pinacotheca, Nucleo de Artes Plasticas, Chapel Art Show, Espaco Cultural Yazigi, Galeria Renato Magalhaes Gouveia, Galeria Artes Applicada, and was chosen by Sotheby's for their Young International Artists group show and auction in Tel Aviv, Vienna and Chicago. In Los Angeles, I have shown at Gloria Delson Contemporary Arts, James Gray Gallery at Bergamot Station, Studio 18, Bleicher/Golightly, Carporale/Bleicher Gallery and have been an ongoing participant at the Show & Tell Auction at the Zimmer Museum in Beverly Hills. Most recently, I have just completed my first book with co-creator Susanne Macdonald Sanchez.


      Artist Statement: Laced



      My Work Confronts Social And Spiritual Issues By Incorporating Antique Objects With Vintage Photographs Into Narrative Assemblage. The Constructions Explore Aspects Of Femininity, The Perceived, Projected, Expected, And The Actual... And Are Often Conceived Through Memories, Dreams And Fears. The Works Often Include Articles That I Find In Flea Markets, Antique Stores And Trash Bins.  I Am Constantly Working With New Processes And Structure And Have Most Recently Completed A New Series Entitled “Laced”. For This Work, I Photographed Mug Shot-Like Female Portraits Outdoors With Natural Light. With Wood Putty And Graphite, The Photographic Surfaces Are Re-Rendered And Then Dramatically Altered With Incised Lace Patterns. With A Feeling Similar To The Maori Warrior Facial Tattoos, At Once Sexy And Intimidating, Created Out Of A Symbol Of Elegance, Femininity And Ironically Victorian Repression.

    • Betty Merken


      The nature of painting has always driven the meaning of my work. The interplay between the physical, sensual activity of painting and the necessary intellectual decisions which present themselves creates an ongoing dialogue

      within each work and among the works themselves.


      In my paintings and in my works on paper,

      I attempt to strike a balance between

      opulence of surface and formal organization, and

      this balance is often arrived at by

      eliminating everything that is not

      absolutely crucial

      to each work.


      As I seek to achieve clarity and poetic vision in my work,

      my daily studio practice becomes a process of

      constant, fluid engagement

      with structure and surface,

      with geometry and gesture,

      with process and image.

    • Michael Moon


      Painting Process:



      Whenever I start a painting it is with passion, excitement and anticipation as I am both participant and observer as color, shape, and form evolve onto a blank canvas.


      Color for me comes from a joy of having hues interplay with each other light to dark, soft to strong, muted to bold, blended to contrasted. This use of color becomes an alchemist's palette with a result not predetermined but with bits and incidents of color unfolding on their own terms. Often I see myself in this process as a vessel or conduit where form, color and shape take their own journey and take their deserved place on a surface.


      Consciously or not, there is always a conversation among the tools and materials used and myself. The result, when successful, is a hopefully recognizable and enduring mystery that resonates a deep-seated familiarity from the viewer.



      Artist Statement:



      Painting is a means to create whatever comes to me. It is a creative experience which translates into a spiritual exercise- a spiritual workout as it were. It becomes a conversation with myself, which sometimes resonates immediately other times with a struggle but a process, however it unfolds, that hopefully is honest, real and valid.

    • Eddie Rehm


      "The 21st century  will not consist of perfect execution but of a concept analogous to the morale of the times."


      "Instant Gratification Abstract" is a term I use to describe my art and the style in which I present each piece.  Art to me is therapeutic, a way to work through the recent loss of friends, family, and the startling conflictions of emotions, I am currently enduring.  All of my work is an expression of myself.  I use my emotions to transcend my message or to convey my story of abandonment, depravity, belligerence, confliction, death, slander, divorce, bankruptcy, losing my home, job, etc..., LOSING it all!!!  My take on America right now, friends, family, and my everyday thoughts. I feel that my life and my art is unique for several reasons. I HAVE A STORY THAT NEEDS TO BE TOLD!




      My photographs represent my life. They show how I see the events that occur around me. I am exposing my life to you, for these photos are the moments in my life which I thought were worth preserving and exhibiting. Each moment can never be recaptured. That is one aspect that makes photography so powerful and amazing. Who can ever recreate that moment in time, that feeling! No one. So, my aim is to grab that moment that might have passed unnoticed or been forgotten in order that we might reflect on it, and on ourselves. I want you to see "a glimpse of life" through my eyes. As Henri Cartier-Bresson said, " We are passive onlookers in a world that moves perpetually. Our only moment of creation is that 1/125 of a second when the shutter clicks, the signal is given, and motion is stopped..."



      For years, I've walked the streets of downtown Los Angeles, training my camera on its facades capturing monumental buildings at the apex of decay and gentrification.  In Flux: Photographs of Historic Downtown Los Angeles is a journey through this city, cast through a neo-noir lens and in the spirit of post-apocalyptic visions of LA seen in the likes of Blade Runner and Omega Man. The technological implications of my chosen medium, the iPhone, both color the scene and situate it in time and place by providing viewers with GPS coordinates to act as an information overlay, mapping points of the exhibition to extend the viewing experience out of the gallery and onto the street.


      My work as a technologist compelled me to test the limits of iPhoneography as an art form.  With the look of each image predetermined through the use of the Hipstamatic app, I approached each subject with intention.  The printing of the images was achieved using a labor intensive process of dye-sublimation on aluminum, resulting in a lustrous work with an archival quality of 100+ years.  In a city where historical preservation is critical, the longevity of these images was an important factor:  they serve as a tribute to the centenarian buildings that have weathered the city's upheavals.


      --Michael Britt, 2014.



      “My personal work is an honest statement about the human spirit. People's stories fascinate me and that is why I put a story inside every frame.


      "The stories I like best are those about the seldom seen or the in-between -- those people who carry within them the secrets of our humanity."




      2009 - First place tie with Annie Leibovitz for the 2009 SCIBA Art & Design Book Award.


      2008 - Faces of Sunset Boulevard - A Portrait of Los Angeles (published in December by Santa Monica Press.)

      Arclight Hollywood - solo show


      2007 - Berlin Rathaus, Germany - exhibition

      LA City Hall - solo show

      IPA Award

      Graphis Award




      Patrick Ecclesine's photography book Faces of Sunset Boulevard - A Portrait of Los Angeles was named Top Photo Book of 2008 by Shutterbug Magazine and tied for first place with Annie Leibovitz’s book, Leibovitz at Work, to win the prestigious 2009 Southern California Independent Booksellers Award (SCIBA). Pop Matters’  in-depth book review stated that the "stark, startling color images represent a leap forward in social-documentary of the strongest statements about man's dark fate in the West ever committed to paper."


      Patrick is a 34-year-old freelance photographer who shoots publicity campaigns for movies and television (Glee, 90210, American Idol, and others). His clients include Vanity Fair, DreamWorks, Warner Brothers, Fox, Disney, CNN, Paramount, and CBS.


      Ecclesine currently lives in his hometown of Hollywood, California.





      Ruscio spent most of his youth moving around, living in small trailer park towns in all corners of the United States from Virginia to Michigan. This experience brought with it a unique foundation for a formal education at New York University’s Tisch School of the Arts, film program. There, he graduated with honors and received the coveted Excellence in Filmmaking Award. After premiering at the Telluride Film Festival, eclipse, Ruscio’s black & white NYU thesis film, went on to win many awards all around the country, including top prize at both the Student Academy Awards and the Independent Film Channel Student Showcase Awards. Since then, Ruscio has directed two feature films, written many screenplays and has directed a number of theater productions. His second feature film, Laura Smiles, premiered at the 2005 TriBeca Film Festival and was theatrically distributed in 2007 by Emerging Pictures.


      Ruscio’s love for still photography began in the early 1990’s, when a friend, who lost both legs in the Vietnam War, gave him a classic Minolta SR-1 camera, with various lenses and filters. In the last two decades, Ruscio’s passion for photography has grown. Urban streets, small mid-western towns and vast landscapes have been his primary subjects, which he captures in both exaggerated colors and stark black & white.




      My life and my work are about overcoming limitations.  Some are cultural, some political, some sexual – many are self imposed.


      I embrace the gravitas, the depth and breadth of the beauty of women, which is limitless. Growing up a dancer, and being a woman, informs everything I do as a sculptor.  Movement and form is my language and vocabulary.


      The loss of my father recently had a profound affect on me and on my work.  I am aware of my own mortality in a way I have never been before.


      This catalyzed my current work, The Warrior Series, which centers around states of being – facing internal/external barriers, struggle and loss.


      In the figurative realm, George Segal, Manuel Neri and Stephen De Staebler had an enormous impact on my development as a young California figurative artist.


      Parallel bodies of work, which explore interiors of form, were deeply influenced by Georgia O’Keefe and Edward Weston.  In this work I deconstruct the body to go beyond the limitations of figure-as-nude.  Much of the work is inspired by the sensual relationship between landforms and human forms.  By framing details of the figure, as if through a lens, then changing the scale, one can have both a more intimate relationship to the form and separation from it’s human reference.


      Although these bodies of work may seem unrelated, they enable different aspects of who I am as an artist and a woman.  One is deeply personal and narrative, and the other reflects a pure love of form.  Both are centered around the feminine experience.


      I sculpt in clay.  Pieces are fired or cast in bronze, aluminum, stainless steel and polyester resin. Sizes rang from inches to monumental.  The work is produced in either limited editions of nine, or as unique pieces.




      Moving in to the later years, after 40 years working in welded steel, my work still seems to progress. The physical demands of my style of work forces me to find new ways to create the works that I want to do. I find myself revisiting the figure and exploring new ideas in creating abstract sculpture and conceptual ideas. The work somehow continues with the same passion as ever, and I feel I am doing some of my best work.










      The nature of painting has always driven the meaning of my work. The interplay between the physical, sensual activity of painting and the necessary intellectual decisions which present themselves creates an ongoing dialogue

      within each work and among the works themselves.


      In my paintings and in my works on paper,

      I attempt to strike a balance between

      opulence of surface and formal organization, and

      this balance is often arrived at by

      eliminating everything that is not

      absolutely crucial

      to each work.


      As I seek to achieve clarity and poetic vision in my work,

      my daily studio practice becomes a process of

      constant, fluid engagement

      with structure and surface,

      with geometry and gesture,

      with process and image.



Los Angeles, CA


727 S. Spring Street

(Between 7th and 8th Street)

Los Angeles, CA 90014

Ph.  323.309.2875

Email |

Web: Stephanie Mondello     ©2017  GDCA Gallery

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