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An American artist from California, Hopkins moved from downtown Los Angeles to China after finding romance in Beijing, where he has lived and worked since 2004. “My work continues to chart the inner geography and junctures of my creative journey”.

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My work reflects an ongoing interest in the sculptural nature of shapes and their interaction with the textural surfaces of painting. I am especially intrigued by the dynamics of movement — a signature quality I employ in my work through various formal approaches. Over the years, my work has evolved through a variety of materials and scales. Currently, the layering process of collage in my wall-sculpture series, Blind Insights, evokes for me the “visceral layering” of emotional experiences, as well as the notion of how we relate to reality by “feeling” and “listening” to our body’s DNA. My concurrent drawing series, Inner Navigations, and watercolors series, Cornucopia, are parallel streams of thought, feeding into the same working process I describe as “intuition-fruition”.

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Robert M. Hopkins is an American artist, currently living in Beijing, China. Born in Philadelphia, Pennsylvania, Hopkins grew up in Davis, California and received his formal art training in Southern California. In graduate school, his art focused on “wall-constructions” that explored the sculptural terrain between traditional “window” formats of painting and the alternative formats of “shaped” paintings. It would be an evolving theme that would characterize much of his work up to the present moment. After receiving his M.F.A. from Claremont Graduate University in 1990, he moved to downtown Los Angeles, where he lived and worked before moving to Beijing, China in 2004. 


At CSU Fullerton, Hopkins became interested in the figurative nature of language, and began combining text with archetypal images that played with the structural nature of meaning. At the same time, he began playing with the traditional "window" approach to painting by experimenting with alternative "window shapes". By the time of his MA show, he developed interacting shapes that played with right-brain and left-brain concepts. This interest in shapes would eventually lead to a more sculptural approach at Claremont Graduate University, along with a new "reductionism". His M.A. show was comprised of wall constructions and collages, entitled Shifting Fragments. His M.F.A. show presented Secular Templates, a more industrial approach to wall constructions.

Los Angeles 

In downtown Los Angeles, Hopkins continued to pursue a reductive approach — using raw sheets of door skin for floor and wall sculptures. He also experimented with various "process art" approaches, before focusing on wall sculptures that utilized rust-stained canvas stretched over wood-ribbed forms, Rust-Stained Series. Eventually, he incorporated colored fabric into his work, and his wood-ribbed forms evolved into twisting loops, inspired by notions of circadian rhythms, Circadian Loops. Arranged in scattered clusters on the wall, they suggested figurative forms in gymnast-like movement.

During his later years in Los Angeles, Hopkins also taught art for Santa Monica Collage, in their Dual Enrollment Program, as well as for the Conservatory of Visual Arts, a Saturday morning program of LA Unified School District’s Gifted/Talented Program. His experience of teaching beginning watercolor classes would later inspire him to begin his Cornucopia series.


In the fall of 2004, Hopkins moved to China, after meeting his future wife in Beijing and discovering a new culture. Even as Hopkins produced his first series of drawings, entitled Sketchbook Studies, his studio practice began adjusting to a smaller scale, from whence emerged Blind Insights — wall sculptures that literally declare their adaptability by twisting, flexing and rotating in scattered clusters on the wall. According to Hopkins, this ongoing theme of “adoptability” literally reflects his own “lived” experience — an approach he has embraced while teaching English and assimilating to a new culture. (Hopkins has been working as an English teacher at the International Preschool of Cannes, since November 2004.)

In regard to the incubation of his ideas and work process for Blind Insights, Hopkins is fond of quoting Robert Louis Stevenson: “Don’t judge each day by the harvest you reap but by the seeds that you plant”. This fertile approach is also evident in Hopkins’s Inner Navigations, a series of intuitively-derived drawings, and Cornucopia Series, a project of exploratory watercolors.


In graduate school, Hopkins’s interest in the figurative nature of language and text (inspired, in part, by deconstruction, dictionaries, and the wordplay of William T. Wiley) eventually gave way to a more visceral, sculptural language — he particularly admired the work of Lawrence Carroll, Richard Deacon and Martin Puryear. However, after moving to downtown LA, Hopkins began to favor wall sculptures with a more “painterly” element of canvas, fabric and plastic.

In coming to China, Hopkins also embarked on a deeper understanding of the visceral nature of creativity and identity — an organic process he  experienced first-hand while working with preschool children. (How does “body language” both facilitate, and overcome barriers of, “spoken language”? Why is it that children have a rich imagination, and learn through fun and play? How is creativity related to emotional intelligence? How is emotional intelligence related to “creative chaos”?)

Accordingly, Hopkins views his Blind Insights series as having come full-circle with the ideas of his earlier Shifting Fragments series. Where does "visceral language" end, and "figurative language" begin? Such is the focus of Hopkins’s work — both "reveling" and "revealing" in the shifting insights that make up reality.

Upcoming Exhibitions

While quietly working in Beijing, Hopkins has prepared several projects and looks forward to exhibiting his new work in the coming year. All enquiries about commissions, artistic collaborations, and exhibition opportunities are welcome. To learn more about Hopkins’s work please visit his website:

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“I regard these objects as “visceral mappings” of an internal process we cannot see but only feel.”


Blind Insights is a series of collage-based work that continues a trajectory of ideas from Hopkins' earlier wall sculptures, while also marking an evolutionary shift in scale and materials. For Hopkins, the intimate scale of collage is emblematic of contemplation: "Collage provides an analogous process of "breaking down" and "piecing together" the bits of information we call reality"On an intuitive level, these individual pieces seem to resonate like "feedback loops" between the artist and life as a creative journey. How we make sense of it all, literally, resides just below the surface — an "inner world" of visceral feelings and insights. 

In addition to its' smaller scale, Blind Insights employs a more painterly approach through its' collaged layering of gouache on paper, and colors that suggest aerial or satellite photography. Even the use of irregular planar-shapes hint at shifting geological surfaces and tectonic plates. At the same time, Hopkins' use of wood skewers, literally, extends the work into the realm of sculpture — with various allusions to architectural and archeological structures. 

The overall impression of these hybrid-forms is that of a restless energy, in which they are seemingly morphing from one guise into another — from one emotional terrain to another.

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Claremont Graduate University, Claremont, California: M.F.A. Sculpture, 1990
California State University, Fullerton, California: B.F.A. Studio Art, 1986; M.A. Painting, 1988
University of California, Santa Barbara, California: B.A. in English, 1980
2000-2004  Conservatory of Visual Arts, [L.A. Unified School District's Gifted/Talented Program]:
                      Saturday morning classes on the campus of C.S.U. Los Angeles, Los Angeles, California 
                    - Instructor in Introduction to Drawing; Pen and Ink; Figure Drawing; Portraiture; Self-Portraiture
                      Watercolor; Sumi-e Ink Painting; and Independent Projects. (Fall 2000 to Spring 2004)  
1998-2003  Santa Monica Community College, Dual Enrollment Program, Santa Monica, California 
                    - Instructor in Beginning Watercolor; Beginning Drawing; and Beginning Life Drawing 
                      at four different High Schools in Los Angeles County. (Fall 1998 to Spring 2003)
1990            Claremont Graduate University, Claremont, California  
                    - Teaching Assistant in Graduate Seminar to Roland Reiss (Spring 1990)  
1988-1989  California State University, Fullerton, Fullerton, California 
                    - Instructor in Life Drawing (Fall 1988 and Spring 1989)
1998        - Slide Lecturer on my work for advanced Painting students, California State University,   
                  Fullerton, California (February) 
                - Slide Lecturer on my work in conjunction with "The 6th International Shoebox 
                  Sculpture Exhibition", City of Brea Gallery, Brea, California (February)
1997        - Guest Lecturer in Beginning Photography class, San Bernardino Valley College, San Bernardino, 
                  California (May)
1996        - Gallery Lecturer on my work in group show "Old Processes, New Armatures", Pierce College 
                  Art Gallery, Woodland Hills, California (November) 
                - Slide Lecturer on my work in conjunction with solo show "Osmosis", San Jose City College, 
                  San Jose, California (October) 
                - Slide Lecturer on my work for Painting students, in conjunction with group show "Material Witness", 
                  Monterey Peninsula College, Monterey, California (April)
1995        - Gallery Lecturer on my work in group show "act, activate, analyze, ask…", Barnsdall Art Park, 
                  Junior Arts Center Gallery, Los Angeles, California (January)
1994        - Gallery Lecturer on my solo show "Vestiges and Constructions", Mendenhall Art Gallery,
                  Whittier College, Whittier, California (October)
1993        - Slide Lecturer on my work in Advanced Painting class, California State University, 
                  Fullerton, California (November)
1992        - Visiting Artist in Architecture Critique class, Woodbury University, Burbank, California,  
1991        - Guest Lecturer in Life Drawing class, California State University, Fullerton, California (February)
1990        - Slide Lecturer on my work to Senior Art Students, Lakewood High School, Lakewood, California 
1989        - Slide Lecturer on my work in conjunction with group show, "Paint", Mount San Antonio College, 
                  Walnut, California (February)
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1997         - First Prize (Awarded Solo Show in December), "Unusual Perceptions", Hello Artichoke Gallery, 
                    Santa Monica, CA
                  - Honorable Mention, "Made in California", City of Brea Gallery, Brea, CA
1995         - Honorable Mention, Strictly Sculpture", The Orange County Center For Contemporary Art (OCCA), 
                    Santa Ana, CA
1990         - Elected to Fellowship Committee, Claremont Graduate University
1989         - Recipient of Merit Fellowship, Claremont Graduate University
1988         - Recipient of Merit Fellowship, Claremont Graduate University
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1998     "Calibrations", Renshaw Gallery, Linfield College, McMinnville, OR (Oct. 5 – 30)
             "Hybrid Vigor", John N Joe Gallery, Los Angeles, CA (May 8 – 30)
1997     "Heterosis", Hello Artichoke Gallery, Santa Monica, CA (Dec. 3 – 31)
1996     "Osmosis", City College Gallery, San Jose City College, CA (Oct. 15 – Nov. 13)
1994     "Vestiges and Constructions", Mendenhall Art Gallery, Whittier College, CA (Oct. 10-28)
1990     "Secular Templates", M.F.A. Exhibit, West Gallery, Claremont Graduate University, CA
1988     "Shifting Fragments", M.A. Exhibit, California State University, Fullerton, CA (April 16-28)
1986     "Inner Stakes", Exit Gallery, California State University, Fullerton, CA (April 21-25)
2004      "Art Auction", Conservatory of Visual Arts, CSULA, Los Angeles, CA (May 1st)
2003      "$200 Show", Andrew-Shire Gallery, Los Angeles, CA (Dec.3 – 6) 
2002      "The Big Wave IV", Andrew-Shire Gallery, Los Angeles, CA (Sept. 13 – Oct. 11)
2001      "lines & signs", Burning Lotus Studios, Los Angeles, CA (Oct. 27 – Nov. 17) 
               Curator: Robert M. Hopkins
              "Robert Hopkins/ Joshua Elias", ANDLAB Gallery, Los Angeles, CA (Sept. 29 – Oct. 20) 
2000      "sextet: in the key of space", Burning Lotus Studios, Los Angeles, CA (Oct. 28 – Nov. 25) 
               Curator: Robert M. Hopkins
1999      "5th Annual Holiday Show", Ruth Bachofner Gallery, Santa Monica, CA (Dec. 4 – Jan. 4, 2000)
              "Intimate Images", Thousand Oaks Community Gallery, Thousand Oaks, CA (Dec. 4 – 11)
              "Big Wave II", Andrew-Shire Gallery, Los Angeles, CA (Dec. 3 – Jan. 7, 2000)
              "Open Spectrum", APC Fine Arts and Graphics Gallery, Gardena, CA (Nov. 10 – Dec.18)
              "Circular Logic", I-5 Gallery, Los Angeles, CA (Sept. 21 – Oct. 16) Curator: Holly Tempo
              "Passageways", Art Gallery, Chemeketa Community College, Salem, OR (Sept. 20 – Oct. 13)
              "Ninety-Nine", Miller Durazo Gallery, Los Angeles, CA (June 12 – July 3)
1998      "One Night Stand @ 207", Gallery 207, Los Angeles, CA (Oct. 9 – 10) 
               "Vessels for the Journey", Angels Gate Cultural Center, San Pedro, CA (Sept. 18 – Nov. 1)
               "One Night Stand 7", Farmer’s Daughter Hotel, Los Angeles, CA (June 13 - July 3)
               "100 Dollar Show & Up", Post, Los Angeles, CA (June 27 - July 25)
               "$99.00 Dollar Store Exhibition", Miller Fine Art, Los Angeles, CA (June 13 – July 3)
               "Made in California", City of Brea Gallery, Brea, CA (March 20 – May 1) Juror: Scott Canty 
               "Four Dimensions", Cypress College Fine Arts Gallery, Cypress, CA (Feb. 17 – March 17)
               "Robert M. Hopkins/ Deborah Zlotsky", Nightingale Gallery, Eastern Oregon University, 
                La Grande, OR (Jan. 17 – Feb. 14)
1997       "2nd Annual Los Angeles National Juried Art Exhibition (Sponsored by Coagula Art Journal) 
                Spanish Kitchen Gallery, Los Angeles,CA(Nov. 14 – Dec. 6) Jurors: Patricia Correia, Llyn Foulkes, 
                Roland Reiss, Michael Salerno, and Mat Gleason 
               "SITE’s 2nd Annual National Competition", SITE Galley, Los Angeles, CA (Oct. 12 – Nov. 7)   
                Juror: Henry T. Hopkins 
               "Downtown Lives ‘97", DADA Exhibition Space, Los Angeles, CA (Oct. 3 – 19)
                "The Big Wave", Andrew Shire Gallery, Los Angeles, Ca (Sept. 19 – Oct.17)
                "In The Neighborhood: Arroyo Arts Collective Juried Exhibition", Harriet and Charles Luckman Gallery, 
                 California State University, Los Angeles, CA (Aug. 16 – Sept. 24) Jurors: James Doolin 
                 and Noriko Gamblin
                "100 Dollar Show", Post, Los Angeles, CA (July 19 – Aug. 9)
                "The $99 Store", Miller Fine Art, Los Angeles, CA (June 28 – July 28)
                "Unusual Perceptions", Hello Artichoke Galley, Santa Monica, Ca (June 20 – July 16) 
                 Juror: Eleana Del Rio; Award: First Prize 
                "Eye SITE 1997 – Brewery Spring Artwalk", SITE Gallery, Los Angeles, CA (April 26 – 27)
                "Southern California Open Juried Exhibition", Laguna Art Museum, Laguna Beach, CA 
                 (April 12 – June 15) Juror: Henry T. Hopkins  
                "Made in California", City of Brea Gallery, Brea, CA (March 29 – May 15) 
                 Juror: Noel Korten, Award: Honorable Mention 
                "The 6th International Shoebox Sculpture Exhibition"; A Traveling Exhibition Organized by
                 The University of Hawaii, Art Gallery:
                ... University of Hawaii Art Gallery, Honolulu, Hawaii (March 16 – April 18) 
                ... Maryhill Museum of Art, Goldendale, Washington (May 11 – Aug. 24)
                ... Art Center in Hargate, St. Paul’s School, Concord, New Hampshire (Sept. 12 – Oct. 25) 
                ... Eagle Gallery, Murray State University, Murray, Kentucky (Nov. 17 – Dec. 18)
                ... City of Brea Gallery, Brea, California (Jan. 18 – March 1, 1998)
                ... Southern Ohio Museum, Portsmouth, Ohio (March 22 – May 3, 1999)
                ... The Art Complex Museum, Duxbury, Massachusetts (May 1 – July 26, 1998)
                ... Gaston County Museum, Dallas, North Carolina (Aug. 9 – Sept. 13, 1998)
                ... Alaska State Museum, Juneau, Alaska, (Oct. 1 – Nov. 8, 1998)
                ... Anchorage Museum of History and Art, Anchorage, Alaska (Feb. 6 – March 14, 1999)
                ... University of Alaska Museum, Fair banks, Alaska (Feb. 6 – March 14, 1999)
                ... The Appleton Museum of Art, Ocala, Florida (April 6 – May 16, 1999)
                ... Montgomery Museum of Fine Arts, Montgomery, Alabama (June 5 – July 18, 1999)
                ... East Hawaii Cultural Center, Co-sponsored by Volcano Art Center, Hilo, Hawaii 
                     (July 30 – Aug. 28, 1999)
                ... Isla Center for the Arts, University of Guam, Mangilao, Guam, (Sept. 16 – Oct. 22, 1999)
                ... Maud Arts & Cultural Center, Kahului, Hawaii (Nov. 13 – Dec. 18, 1999)
              "The Shooting Gallery, 1997 – Benefit for Harm Reduction Central", Los Angeles Contemporary 
               Exhibitions (LACE), Hollywood, CA (Feb. 8)
1996      "Fair Art ’96 Presents: Holy Sale", Spanish Kitchen Gallery, Los Angeles, CA (Dec. 15 – 22) 
               "Old Processes, New Armatures", Pierce College Art Gallery, Woodland Hills, CA (Nov. 11 – Dec. 10) 
                Curator: Joan Kahn 
               "littlebigart", Mendenhall Art Gallery, Whittier College, Whittier, CA (Oct. 14 – Nov. 29) 
                Curator: Geoffrey Allen 
               "Downtown Lives ‘96", DADA Exhibition Space, Los Angeles, CA (Oct. 4 – 20)
               "31st Annual Open Exhibition", San Bernardino County Museum, Redlands, CA (Sept. 18 – Oct. 26) 
                Juror: Elizabeth Smith
               "100 Dollar Show", Post, Los Angeles, CA (Aug. 2 -31)
               "Living With Art", Andrew Shire Gallery, Los Angeles, CA (July 13 – Aug. 24) Curator: Young An 
               "Process and Perception", Full Moon Gallery, Los Angeles, CA (May 23 – June 21)
               "Material Witness – Small Mixed Media Works by California Artists", Monterey Peninsula College, 
                Monterey, CA (April 17 – May 11) Curator: Judith Bell 
               "Action Required", Huntington Beach Art Center, Huntington Beach, CA (April 13 – May 12) 
                Curator: Michael Lewis Miller 
1995       "act, activate, analyze, ask…", Barnsdall Art Park, Junior Arts Center Gallery, Los Angeles, CA 
                (Dec. 3– Jan. 28, 1996) Curator: Michael Lewis Miller  
                "Brand XXV: National Juried Competition", Brand Library Art Gallery, Glendale, CA 
                (Dec. 2 – Jan. 9, 1996) Juror: Peter Alexander  
                "Strictly Sculpture", The Orange County Center for Contemporary Art, Santa Ana, CA 
                (Sept. 20 – Oct. 20) Juror: Betye Saar, Award: Honorable Mention 
                "Three Person Show: Clay Babcock, Robert M. Hopkins & Alyssee Stepanian", Factory Place Gallery, 
                 Los Angeles, CA (Sept. 10 – Oct. 6) 
                "1995 Los Angeles Juried Exhibition", Los Angeles Municipal Art Gallery, Los Angeles, CA 
                 (July 5 - 22) Jurors: Nancy Doll, Howard Fox and Leonard Simon  
                "Sculpture: Form and Space", Korean Cultural Center, Los Angeles, CA (May 12 – June) 
                 Curators: Irit Krygier and Helen Alameda Lewis 
1994        "Get Back", Kohn Turner Gallery, Los Angeles, CA (Dec. 17 – Jan. 7, 1995)
                "Downtown Lives "94", DADA Exhibition Space, Los Angeles, CA (Nov. 4 – 20) 
                "Get Back", West Gallery, Claremont Graduate University, Art Department, Claremont, 
                 CA (Oct. 3 – 21)
                "FAR Bazzar At The Brewery", Bingo Building, Los Angeles, CA (May 5 – June 5)
1993        "Downtown Lives!", DADA Exhibition space, Los Angeles, CA (Dec. 3 – 19) 
                "CARECEN’s Ninth Annual Art Auction", Every Picture Tells A Story, Los Angeles, CA (Nov. 21)
                "Sculpture", Studio 5 Gallery, Los Angeles, CA (Nov. 20 – Dec. 19)
                "Urbanned Hearts", Spanish Kitchen Gallery, Los Angeles, CA (Feb. 5 – March 5)
1992         "F.A.R. Bazzar/L.A. Alternative Art Fair", Old Federal Reserve Building, Los Angeles, CA 
                 (Dec. 3 – 20)
                 "CARECEN’s Eighth Annual Art Auction", Sherry Frumpkin Gallery, Santa Monica, CA (Nov. 14) 
                 "SLASH-A Group Show", Empty Spaces Gallery, Los Angeles, CA (Aug. 8 – Sept. 8)
1991         "CARECEN’s Seventh Annual Art Auction", Richard Green Gallery, Santa Monica, CA (Nov. 8 – 9) 
1990         "CARECEN"s Sixth Annual Art Auction", Daniel Saxon Gallery, Los Angeles,CA(Nov. 9 – 10)
1989         "CARECEN’s Fifth Annual Art Auction", Fred Hoffman Gallery, Santa Monica, CA (Nov. 16 – 18)
                 "Fourth Annual Group Show", Artist Trait Gallery, Ontario, CA (Sept. 7 – Oct. 7)
                 "Three Person Show: Robert M. Hopkins, Sandra McCarthy, Mark Sparks", Madrona Gallery, 
                  San Pedro, CA (May 6 – 27) 
                 "Paint", Art Gallery, Mount San Antonio College, Walnut, CA (Feb. 21 – March 9)
1988          "On The Edge: Part-Time Faculty Show", West Gallery, California State University, 
                  Fullerton, CA (Oct. 3 – 13) 
                 "Fringe of The Fringe Show 11", DA Gallery, Pomona, CA (Sept. 29 – Oct. 8)
                 "Visual Arts '88", Ettinger Gallery, Art Institute of Southern California, Laguna Beach, CA  
                  (July 18 – Aug. 6) Juror: Henry T. Hopkins 
1987          "Visual Arts '87", Ettinger Gallery, Art Institute of Southern California, Laguna Beach,CA 
                  (July 2 – Aug. 6) Juror:William Otton 
1986          "Fourth Annual Prize Competition", Provincetown Art Association and Museum, 
                   Provincetown, MA (Aug. 22 – Sept. 28) Juror: Will Barnett  
                  "Visual Arts '86" Ettinger Gallery, Art Institute of Southern California, Laguna Beach, CA 
                   (Aug. 11 – 30) Juror: Lynda Forsha 
                  "Statue of Liberty Centennial Show", Orlando Gallery, Sherman Oaks, CA (July 11 – 31) 
                   Curator: Don Lagerberg 
                  "O.C.V.A. Second Annual Juried Exhibit", Guggenheim Gallery, Chapman College, Orange, CA 
                   (July 11 – August 15) Juror: Mark Moore 
                  "Expressions of the Human Figure", Muckenthaler Cultural Center, Fullerton, CA (April 25 – June 28) 
                   Juror: Roland Reiss
1998        - The Korean Central Daily, Los Angeles, May 6, 1998, "Hybrid and Transplant: Robert M. Hopkins
                   and Jason S. Yi at John N Joe Gallery", by Yoo Hue Ahn, Culture, p.1.
                - The Event Newspaper, Cypress College, February 27, 1998, "Four Dimensions: Now Open at 
                   Cypress College".
                - The Observer/Baker City Herald, Oregon, January 30, 1998, "Art Show Has Lots to Offer", 
                   by Linda Elliott.
                - The Observer/Baker City Herald, Oregon, January 9, 1998, "Show Time: Nationally Recognized 
                   Artists Coming to Nightingale", p.5.
                - Artweek, January 1998, "Previews: Four Dimensions", by Steve Jenkins, p. 6.
1997        - Catalogue for "Heterosis", Hello Artichoke Gallery, Santa Monica, California, December 3-31. 
                   Essay by M.A. Greenstein.
                - Catalogue for "The 6th International Shoebox Sculpture Exhibition", March 16 - April 18, 1997, 
                   The University of Hawaii Art Gallery, Honolulu, Hawaii, p.57.
1996         - San Jose City College Times, November 7, 1996, "Osmosis: Exhibition Stretches Definition Of Art", 
                   by Jeff Rehrig, p. 6. 
                 - Catalogue for "Action Required", April 13 – May 12, 1996, Huntington Beach Art Center, Gallery 3, 
                   Huntington Beach, California, p. 10.
                 - L.A. Weekly, January 26 – February 1, 1996, "Art Picks of the Week" by Peter Frank, p.110.
1995         - Catalogue for "act, activate, analyze, ask…", December 3, 1995 – January 28, 1996, 
                   Junior Arts Center Gallery, Barnsdall Art Park, Los Angeles, California, p. 2.
                 - O.C. Weekly, October 20-26, 1995, "Strictly Contemporary: Sculpture as an Artistic Antidote", 
                   by Daniella B. Walsh.
1990         - Elan Magazine, September 1990, "Portfolio", p. 24.
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