About this event

Welcome to For The Love of Woman art exhibition! Join us for a day filled with empowering discussions around art, information on art collecting, and networking opportunities. This in-person event will be held at 300 S Santa Fe Ave, Suite G. Connect with like-minded individuals who share a passion for supporting the arts and celebrating women. Don't miss out on this incredible opportunity to come together and uplift one another. We can't wait to see you there!

Amanda Bomster-Jabs

Artist Bio

Amanda Bomster-Jabs is a Korean American artist born in South Korea, grew up in Baltimore, Maryland in the United States, and currently resides in Los Angeles. Her work delves into the realms of hidden emotions, longing, transformation, and grief. Rooted in personal experiences like reuniting with birth family and navigating identity between cultures, her art serves as both solace and a tool for processing loss. Through her work, she contemplates the interconnectedness between loss and gain in the human experience.

Artist Statement

My journey has taught me that life's gains often come with corresponding losses. As an adoptee, I straddle the line between cultures, constantly navigating identity. Meeting my birth family in South Korea after two and a half decades revealed the depth of what I had both gained and lost through adoption, reshaping my perception of life irreversibly. This collision of timelines spurred me to create a series, using pen, ink, pencil or gouache. Inspired by the Korean countryside and mountainous and hilly town where my birth family resides, I use the landscape as a way to explore the intersection of these parallel lives. Additionally, I delve into identity by distorting and abstracting faces, symbolizing the struggle I faced growing up with my identity in a predominately white family, seeing my face as a mask that I didn't quite fit. This exploration reflects the ongoing challenge of reconciling multiple facets of my identity.

Mary Harris

Artist Statement

Through her explorations in portraiture, Mary captures those “who deserve recognition… those who inspire me and whose stories beg to be told.” Whether she’s creating a quick sketch or a more intensive piece, Mary appreciates the intimacy and catharsis that unfolds between artist and subject. “I feel a spiritual connection to what I paint,” she explains. “I become a conduit for sharing, authenticity, and vulnerability through creative expression. Together, we experience the purity of simply being present.”

Malavika Rao

Artist Bio

I am an artist and educator from Bangalore, India, living and working in Los Angeles. My multidisciplinary practice utilizes painting, ceramics, fiber, and installation to explore generational trauma and healing. I use craft knowledge and histories to articulate resistance to dominant familial and societal structures. In my practice, I look to ancestral knowledge, the temporal powers of craft, and installation to construct portals to the past and imagine alternative narratives for the future. I aim to build new worlds at the intersections of pasts and futures – for myself and my community – in the hopes that these worlds can become powerful realms of healing, resistance, and love. I received my BA from Kalamazoo College in 2017 and my MFA from CalArts in 2023. As an artist and a teacher, One of my main goals is to facilitate communities of care. Through both my studio practice and my teaching practice, I aim not only to imagine supportive and loving future worlds – but to facilitate the actual creation and implementation of them.

Artist Statement

Through painting, fiber art, ceramics and installation, my practice explores generational trauma and healing. I am interested in using the knowledge of craft to articulate resistance to dominant familial and societal structures. These ways of crafting and knowing that are passed down to us through our personal histories grant us access to time in a way that allows us to construct portals to the past and imagine alternative narratives for the future. Utilizing traditional art and craft-forms, inherited materials, connections to ancestors, and time travel, I aim to build new worlds at the intersections of these pasts and futures - not just for myself, but for my community - in the hopes that these worlds can be loving realms of healing, resistance, and liberation. The knowledge of craft is typically passed down through interpersonal relationships, generally between women. When I crochet, I can feel the echoes of their histories in the yarn. I can sense the remnants of their labour. My mother taught me how to sew, her mother taught her. My sibling and I learnt how to crochet with each other. To me, these relationships, specifically the ones that develop within the domestic space, are inextricably linked to craft, they are the intertwining threads of what sustains the practice of love. My sculptural and installation work is rooted in the imaginary worlds I created for myself as a child. These worlds existed in the unrealized spaces of my home, underneath the dining table and at the back of closets. Through them, I harness the protection that these hidden spaces provided for my childhood self. My ceramic work, Cosmic breakfast, is an offering to Ponnu - my childhood self - of hope, love, and guardianship. My recent gouache paintings are glimpses into these portals through time. Influenced by the single-point perspective and architecture of Mughal miniature paintings, as well as the reconstruction of the Zenana, I build and rebuild moments from my life, both the ones that I have already experienced, and the ones that are yet to come. My quilts, or baby blankets, are containers. They contain love, labour, and hope - made for someone who does not yet exist. I am interested in channeling the emotional charge that baby blankets carry in order to tap into various moments in time. The baby blankets allow me to encounter different versions of self and the world. They function as manifestations for futures of self-love and community.

Eastyn Cazin

Artist Statement

The Bad Eyes a project created by Southern California native Eastyn Cazin as a way to explore the general rage that comes with being thrust into this world against her will. The Bad Eyes was born to fight against the burden of being and urge you to find the strength to take the next step in your quest.

Arnaya Needleman

Artist Bio

Arnaya Needleman is a self-taught artist born in Boston (1989), who now resides in Los Angeles. In 2020, she left her corporate job and began painting in 2021. Arnaya received her Bachelor’s degree in Criminal Justice and her Master’s in Vicimolgy, which has allotted her the tools to educate the communities in which she lived, on social justice issues and education reform. Because of this foundational knowledge, along with her passion for people, she continues to infuse those perspectives into her art, solely based on humanity–-all the good and bad that it entails.In her practice, Arnaya uses acrylic paint, along with other mediums to create rich textures and colors, on both canvas and discarded wood. Arnaya’s art evokes emotion in its purest form while creating a dialogue with the viewer. 

Her process of making art reminds her that art is imperfect, as it is a reflection of the human experience- imperfect, flawed, and often messy. She finds beauty in it all.

Sam Viotty

Artist Bio

Sam is a creative at heart with a passion for designing experiences that drive impact. She is a NYC-raised but Los Angeles-based artist and curator, known for her innovative approach to blending traditional and digital mediums to tell stories that resonate. Through her work, Sam seeks to bridge communities, foster dialogue, and inspire a new generation of creatives with her projects. She holds a M.A. in Civic Media, Art, and Practice (Media Design) from Emerson College, and a B.A. in Film & New Media Studies from Wheaton College, MA.

Artist Statement

My artwork lives in a space that examines identity and social issues as they pertain to memory, history and popular culture. I create digital illustrations as a way to re-envision the way I see the world. My work is a reflection of my identity as a Black Woman, highlighting people of color and using found images to reimagine representation. My process starts with an image that already exists that I feel connected to proceeded by layering, mixing, and digital collaging. I use color and block images to convey the messages within the portraits. The subjects of my work often do not have detailed faces. I invite the viewer to use their imagination by using the details in the setting, colors, and backgrounds to derive meaning. My work thus far has focused on aspects of intersectionality, particularly of race and gender, my black woman identity in the United States of America. My work aims to create a wide range of opportunities to view people of color (black men and women), to challenge the monolithic notions and stereotypes that society, popular culture, and the media have forced on the public.

What’s Next? Submit an inquiry and hear back from our Art Adviser, Nakeyta Moore. To email her directly, you can contact her at nakeyta@artloudla.com or fill out the form below.

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